© Christian Richters

克里斯蒂安·里氏

架构师提供的文本描述。2013年，阿尔巴尼亚文化部设想了一项重建文化基础设施的计划，恢复废弃的历史建筑。Marubi博物馆是这一项目的先驱项目。创建博物馆的计划在全国引起了巨大反响，因为展出三代Marubi家族摄影师在一个多世纪里创造的摄影遗产具有重要的历史意义。

Text description provided by the architects. In 2013, the Albanian Ministry of Culture envisioned a plan to rebuild the cultural infrastructure reactivating abandoned historical buildings. The Marubi Museum is a pioneer project of this programme. The plan to create the museum has enjoyed an enormous national repercussion because of the historical importance of exhibiting, among others, the photographic legacy created during more than one century by three generations of photographers from the Marubi family. 

 © Christian Richters

克里斯蒂安·里氏

传统与现代的对话-Marubi博物馆的设计旨在促进传统与现代、过去与现在之间的丰富对话。这一传统的遗产在于恢复出生在Shkod r，Kol Idromeno的阿尔巴尼亚建筑师设计的历史建筑，同时保持其空间和结构特征，不进行任何体积变换或新的内部隔墙。从概念上讲，艾德罗梅诺的建筑成为展览的一个重要的“对象”，展示、构思和参观。通过安装五个“功能盒”来实现与新的博物馆版画程序相关的现代形象，这些盒子是预制的，与原来的建筑分离，作为家具或雕塑元素。传统与现代在建筑的每一个角落都建立了对话。在博物馆的外部，一个展示元素作为指示博物馆入口处的地标；在建筑物内部，建筑的原始窗户和空间品质与展览盒对话；在庭院中，旧建筑与新的现代卷共存。

Dialogue between tradition and modernity The design for the Marubi Museum aims to promote a rich dialogue between tradition and modernity, between the past and the present. The legacy of the tradition is underlined by restoring the historical building designed by the Albanian architect born in Shkodër, Kolë Idromeno, while preserving its spatial and structural qualities without any volume transformation or new interior partitions. Conceptually, Idromeno's building becomes an important “object” of the exhibition to be shown, contemplated and visited. A modern image associated to the new museographic program is achieved by installing five “functional boxes”, which are prefabricated and detached from the original building, working as pieces of furniture or sculptural elements. Tradition and modernity establish a dialogue in every corner of the building. At the exterior of the museum, a showcase element works as a landmark that indicates the museum entrance; in the interior of the building, the original windows and spatial qualities of the building dialogue with the exhibition boxes; and in the courtyard, the old building coexists with a new modern volume.

 © Christian Richters

克里斯蒂安·里氏

 © Christian Richters

克里斯蒂安·里氏

一方面，博物馆项目扩展到公共空间，其中一个“功能盒”成为在博物馆前安装的一个展示厅，作为一个邀请市民参观的地标。另一方面，公共空间进入博物馆，该项目清除了街道和机构之间的边界，有一个透明和无障碍的底层，免费提供多功能空间，供讲座、讲习班和临时展览使用。因此，该项目打算建立一个开放和活跃的博物馆，使之能够成为与Shkod r街头生活相联系的文化地标。

Open, accessible and alive cultural landmark  On the one hand, the museum program expands into the public space and one of the “functional boxes” becomes a showcase installed in front of the museum, serving as a landmark that invites citizens to visit it. On the other hand, public space enters the museum and the project erases the border between street and institution with a transparent and accessible ground floor that hosts a free-entrance multifunctional space for lectures, workshops and temporary exhibitions. As a result, the project intends to create an open and alive museum capable of becoming a cultural landmark linked to the street life of Shkodër. 

 © Christian Richters

克里斯蒂安·里氏

博物馆的身份博物馆现代形象是基于抽象的模式，这是启发的几何孔径的摄影相机，打开和关闭，以控制光线。该抽象图案用于设计建筑中安装的五个展览箱的结构布局，并集成了一个完整的、通用的展览系统，包括展示照片和文件的框架、物体的展示柜、幻灯片放映和短片的视频屏幕。

Museum Identity  The modern image of the museum is based on an abstract pattern, which is inspired by the geometry of the aperture of the photographic camera that opens and closes to control the light. This abstract pattern is used to design the structural layout of the five exhibition boxes installed in the building, integrating as well a complete and versatile exhibition system that includes frames to exhibit photos and documents, showcases for objects and video screens for slide-shows and short movies. 

 © Christian Richters

克里斯蒂安·里氏

抽象的图案总是与收藏的照片和物品混合在一起，成为博物馆的象征。它可以在不同的规模和建筑物的几个部分被识别，例如在博物馆的标志中，在街道展示的设计中，在建筑物内的功能盒子的布局中，甚至在庭院的新艺术立面的结构中，这些庭院将周围的景色和建筑物内的光线隔开。Marubi国家摄影博物馆通过将所有空间、结构、功能、图形和视觉方面联系起来，获得了自己独特的身份，帮助游客以完整、丰富和独特的体验识别建筑和收藏。

The abstract pattern, which is always mixed with the photos and objects of the collection, becomes the symbol of the museum. It can be recognized at different scales and in several parts of the building such as in the logo of the museum, in the design of the street showcase, in the layout of the functional boxes inside the building, and even in the structure of the new artistic facades of the courtyard that frame the views over the surroundings and filter the light within the building. Marubi National Museum of Photography acquires its own specific identity by linking all spatial, structural, functional, graphic and visual aspects, helping visitors to identify building and collection with a complete, rich and unique experience.

 © Christian Richters

克里斯蒂安·里氏

 © Christian Richters

克里斯蒂安·里氏

产品描述：博物馆不同部分的设计是基于摄影相机光圈几何形状的抽象图案。这种模式在建筑物内不同的尺度上使用，并定义了它的身份。在更大的尺度上，这个图案被用来定义庭院幕墙的几何形状，它是三种不同透光镜的镜框。在较小的尺度上，定义了功能盒支撑铝熔覆系统的几何形状。DEKO GV包层系统已特别适应功能盒的需要，以便一方面可以制作展示照片、文件和信息文本的框架，另一方面还可以展示陈列物品的箱子。其他框架支持半透明眼镜，在那里没有图片或物体背后。

Product Description: The design of the different parts of the museum is based on the abstract pattern inspired by the geometry of the aperture of the photographic camera. This pattern is used on different scales within the building and defines its identity. On the bigger scale, the pattern is used to define the geometry of the curtain walls of the courtyard that frame glasses of three different transparencies. On the smaller scale it defines the geometry of the supporting aluminum cladding system of the functional boxes. The Deko GV cladding system has been adapted specifically to the necessities of the functional boxes in order to allow, on the one hand, the creation of frames to exhibit photos, documents and information texts and, on the other hand, show cases to exhibit objects. Other frames support translucent glasses where there are no pictures or objects behind.