华沙现代艺术博物馆重新诠释了波兰的“白盒子”概念
The Museum of Modern Art in Warsaw reinterprets the ‘white box’ in Poland

由专筑网Yinglin，小R编译

华沙现代艺术博物馆有着极简设计风格，向公众敞开大门

刚刚落成的华沙现代艺术博物馆，由Thomas Phifer and Partners事务所设计，是一座优雅精致的新建筑；它不仅展示了国际社会对波兰建筑的广泛关注，也通过其背后的故事，体现了这座城市艰难的战后历史。

1998年，在毕尔巴鄂古根海姆博物馆取得巨大成功后不久，Gehry接受了波兰媒体的采访，表达了他愿意为华沙设计一座新博物馆，甚至免费设计的愿望。Gehry的家族来自波兰，因此他一直梦想在这个国家建造一座重要建筑。后来，他为 Łódź 设计了Camerimage电影中心，并为Kraków设计了音乐学院，但这些项目均未建成。

The Museum of Modern Art in Warsaw opens its minimalist doors to a design by Thomas Phifer and Partners
The Museum of Modern Art in Warsaw, which has just been inaugurated to a design by Thomas Phifer and Partners, is a handsome, refined new building; it is also a case study of the wide, international interest in the country's architecture, as well as a scheme that exemplifies through its story, the difficult post-war history of its city.
In 1998, right after the undisputed success of the Guggenheim Museum in Bilbao, Frank Gehry gave an interview to the Polish press in which he expressed his desire to design a new museum in Warsaw – even for free. Gehry's family came from Poland, so it was his dream to build a significant building in the country. He later designed the Camerimage Film Center in Łódź and the Academy of Music in Kraków, but neither was built.



华沙现代艺术博物馆：故事

2007年，波兰首都华沙的新现代艺术博物馆设计项目发起了一项公开的国际竞赛。该博物馆将坐落于城市中心的一块重要地块，毗邻科学文化宫。盖里并未参与此竞赛，但来自世界各地的百余支团队提交了设计方案。最终，瑞士建筑师Christian Kerez凭借其极简主义建筑方案胜出，与其他更加富有表现力的方案形成鲜明对比。该项目曾推进到相当成熟的阶段，但在2012年被搁置。

The Museum of Modern Art in Warsaw: the story
In 2007, a broad, open international competition was announced for the design of the new Museum of Modern Art in the Polish capital. It was to be located on a valuable plot in the city's heart, next to the Palace of Culture and Science. Gehry did not take part, but over a hundred teams from around the world submitted designs. The commission was won by Swiss architect Christian Kerez, who proposed a minimalist architecture, contrasting other, more expressive, participating proposals. The project was developed and reached a fairly advanced stage when it was abandoned in 2012.



2014年，同一地块再次启动设计竞赛，针对设计师设定了非常详细的指南和要求。最终，共有15个团队提交了作品，包括Foster + Partners、UNStudio和Henning Larsen等著名事务所。这一次，纽约的Thomas Phifer and Partners团队获胜，他们的设计最终得以实现。

In 2014, another competition was announced for the same plot, with very detailed guidelines and requirements for designers. Ultimately, 15 teams submitted works, including Foster + Partners, UNStudio and Henning Larsen. This time, the winner was the New York studio Thomas Phifer and Partners; and its project has eventually come to fruition.



这座横向延展的大型白色建筑与华沙市中心的玻璃摩天大楼形成了鲜明对比。建筑主体旁是一座独立的狭窄塔楼，拥有通向地下黑色礼堂和影院的独立入口。主建筑的底层采用全玻璃设计，将博物馆与周围繁忙的人行通道及邻近的新修广场无缝连接。

The horizontal, large-scale, almost all-white building strikes a contrast against the glass skyscrapers dominating the skyline of central Warsaw. Right next to the building’s main body, there is a narrow, freestanding tower with a separate entrance to the black auditorium and cinema hall located underground. The ground floor of the main building is completely glazed, opening the museum to the busy pedestrian routes around it and the adjacent, newly renovated square.



这种设计策略还保障了艺术作品的可见性，每天有数百名驾驶者经过周边道路时都可以欣赏到这些艺术品。除了临时展厅外，底层还设有咖啡馆、商店、小型礼堂和教育区——通过使用窗帘，这些功能区在需要时可以独立分隔。

This also enables art to be visible from a public space – it will be viewed by hundreds of drivers travelling through the surrounding roads every day. In addition to the temporary galleries, there is a café, a shop, a small auditorium and an educational zone on the ground floor – some functions can be isolated if needed, through the use of curtains.



上层主要由连续排列的展览室构成，局部设置了由当地白蜡木装饰的休息区和巨大的窗户，框住了城市的部分景致。顶层是面积最大的展览室，有些高度超过6米，通过大量天窗从上方引入自然光。每个展厅和楼层的名称都刻在混凝土墙上。

The upper floors contain mainly exhibition rooms in an enfilade arrangement, separated here and there by relaxation zones finished with local ash wood and large windows framing selected parts of the city. On the top floor are the largest exhibition rooms, some over 6m high, naturally illuminated from above thanks to numerous skylights. The names of individual rooms and floor levels are engraved on the concrete walls.



管理和档案区位于展览楼层之间，通过立面的水平玻璃带标识。建筑的各个部分通过中央巨型楼梯内部相连——它本身就像一个缩放的极简主义艺术品。博物馆内外的各种设计解决方案可能会唤起类似的联想。这是一种综合性的建筑设计策略，其中比例、分区和材料的恰当运用尤为重要，并依赖于精确的执行。

An administration and archive area sits between the exhibition floors, signalled through horizontal glazing on the façades. The different building sections are connected internally by a monumental central staircase – itself, reminiscent of a scaled minimalist artwork. Various design solutions both inside and outside the museum may evoke similar associations. It is an architecture of synthesis, in which appropriate proportions, divisions and materials are of great importance, supported by precise execution.



乍看之下，这座新博物馆似乎是一种对中立“白盒子”画廊类型的直接诠释，这是许多策展人和艺术家青睐的形式。但仔细观察后，才能发现这里形态、细节和色彩的巧妙运用——尤其是在色彩的处理上，虽然接近白色，但并不完全相同，白色仅出现在主要展览室中。

At first glance, this new museum may seem like a rather literal interpretation of the neutral 'white cube' gallery typology, favoured by many curators and artists around the world. Only upon closer inspection can one notice the sophisticated play of forms, details and colours here – the last of which, unfolding in a range of shades close to, but not quite, white (which appears only in the main exhibition rooms).



图片：Marta Ejsmont