采购产品内饰团队Natalia Romik，Agnieszka捷克，Katarzyna Okraszewska景观建筑，克拉霍布拉祖Viretum(工作室Architektury)，Agnieszka Michalska(Studio Architektury)建筑KOC-Projekt Zbigniew Koc总承包商Skanska S.A.多规格少规格

Interiors team Natalia Romik, Agnieszka Czmut, Katarzyna Okraszewska Landscape architecture Krajobrazu Viretum (Studio Architektury), Agnieszka Michalska (Studio Architektury) Construction KOC-PROJEKT Zbigniew Koc General Contractor Skanska S.A. Manufacturers Loading... More Specs Less Specs

 © Lech Kwartowicz

C.Lech KwarTowicz

架构师提供的文本描述。在第二次世界大战期间，位于马科瓦的ulma家庭波兰人拯救犹太人博物馆是波兰第一家纪念帮助犹太人的波兰人的机构。博物馆的禁欲主义建筑形式，切入地面，以及展览隐藏在里面，是由Nizio设计国际设计。博物馆于2016年3月17日开幕。

Text description provided by the architects. The Ulma Family Museum of Poles Saving Jewish People during World War II in Markowa is Poland's first institution commemorating Poles who helped Jews. The museum's ascetic architectural form that cuts into the ground, as well as the exhibition hidden inside, was designed by Nizio Design International. The museum was opened March 17, 2016.

在博物馆的布局构图中，不仅是形式，还包括所有其他元素，如质地和材料，来表达与博物馆信息相关的内容。这里应用的极简主义抽象建筑形式在游客中引发了一定的感情。这座建筑修修补短的形状让人想起了一座房子。象征意义上的家是与爱和安全联系在一起的，设计师们面对的是表达焦虑和威胁的构图形式。钢筋混凝土建筑的正面覆盖着风化钢板，形成了一种铁锈状的外观，象征着时间的流逝。随着建筑形式在地形的凹槽和使用的材料，建筑物与周围的融合，并与他们融合。成为村庄和更广泛历史的一部分，它让游客想起战前马科瓦的历史和生活。它不仅指的是大浩劫的时间，而且还揭示了存在物不变的本质，尽管命运和历史的可能性。

Within the museum's layout composition it is not only the form, but all the other elements, too, such as texture and material, that are to express the content related to the museum's message. The minimalist, abstract architectural forms that have been applied here trigger certain feelings in visitors. The ascetic shape of the building is reminiscent of a house. The symbolic vision of home, which is associated with love and security, was confronted by the designers with compositional forms that express anxiety and threat. The building of reinforced concrete has facades clad in weathering steel sheets which develop a rust-like appearance indicative of the passage of time. With the architectural form being recessed in the terrain and with the materials used, the building blends in with the surroundings and amalgamates with them. For becoming a part of the context of the village and the broader history it reminds visitors of the history and life of the pre-war Markowa. Not only does it refer to the time of the Shoah, but also reveals the unchanging nature of being, against the odds of fate and history.

 © Lech Kwartowicz

C.Lech KwarTowicz

博物馆的部分玻璃窗是一扇门，它被简化成一个标志的形式。博物馆里有一片暮色，被建筑物中心发出的光芒照亮，这是一座玻璃长方体，象征着Józef和Wiktoria ulma的家园，以及数千名冒着生命危险帮助犹太人的波兰人的家园。展品包括原始家具、木工商店、蜂箱、书籍、Józef ulma的照相机和家庭文件。在这个空间里展示的是一些投影，这些投影让这对已婚夫妇和他们的孩子的日常生活中的场景重新呈现出来。乌尔马斯的象征之家坐落在一个钢底座上，墙壁上覆盖着在底片上刻有雕刻图案的安全玻璃。显示投影的墙壁上覆盖着防反射膜。地板是用松木板制成的，表面是刷过的和老化的。

The partially glazed facade of the museum is a gate that is simplified to the form of a sign. Inside the museum there is twilight, illuminated by the glow of light coming from the heart of the building, which is a glass cuboid symbolising the home of Józef and Wiktoria Ulma, as well as the homes of thousands of Poles who risked their lives to help the Jews. The exhibits include the original furniture, woodworking shop, beehive, books, Józef Ulma's cameras and family documents. Within this space displayed are projections that bring back the scenes from everyday life of the married couple and their children. The symbolic home of the Ulmas is perched on a steel substructure, the walls are finished with safety glass covered with engravings on film substrate. The wall on which projections are displayed is covered with anti-reflective film. The floor is made of pine boards with brushed and aged surfaces.

 © Lech Kwartowicz

C.Lech KwarTowicz

 © Lech Kwartowicz

C.Lech KwarTowicz

博物馆的参观路线围绕着长方体，穿过7个主题部分，通过人工和多媒体展台展示的手工艺品、文件、照片和材料来讲述这个故事。展厅中央有4个信息盒，以钢立方体的形式，带有触摸屏和座椅。展览的所有内容都是为了讲述波兰人和犹太人在战争悲惨时期的共同过去的故事。博物馆内部保持着简单而不朽的混凝土墙诗学。它的顶点-在展厅的后面-是明亮的垂直和锐利的缝隙，象征着穿过无法理解的死亡区域的狭窄大门。

The viewing path of the museum leads around the cuboid and across the 7 thematic sections, where the story is told through artefacts, documents, photographs, and materials presented at manual and multimedia stands. In the middle of the exhibition room are 4 infoboxes in the form of steel cubes with touch screens and seats. All elements of the exhibition are arranged so as to tell the story of the shared past of Poles and Jews in the context of the tragic time of war. The interior of the Museum is kept in simple and monumental poetics of concrete walls. Its culmination - at the back of the exhibition room - is the illuminated vertical and sharp gap which symbolises the narrow gate that leads through the incomprehensible area of death.

 © Lech Kwartowicz

C.Lech KwarTowicz

这座建筑的尖尖的楔形结构与房子后面的地形相通，设计师们将记忆果园与苹果、梨树和李树放在一起，这既指Józef ulma的果园，也指Yad Vashem的Righteous的橄榄园(Olive Garden Of The Righteous At Yad Vashem)。在院子附近的纪念碑墙上，象征着一段土地的横截面，上面是喷砂的花岗岩牌匾，上面写着拯救犹太人的波兰人的名字。然后，“嵌入”在院子的平面上突出显示那些因拯救犹太人而丧生的人的名字。在博物馆入口处，照明斑块的密度增加了。在院子的平面上，就像一条河上的小船一样，它们形成了一列奇特的行进灯，它们接近大门的门槛，这是以房子的高度为标志的。

The sharp wedge-shaped structure of the building cuts into the terrain behind the house, where the designers have located the Memory Orchard planted with apple, pear, and plum trees and which refers both to Józef Ulma's orchard and the Olive Garden of the Righteous at Yad Vashem. On the monumental wall adjacent to the plane of the yard symbolising a cross-section of the soil placed are sandblasted granite plaques featuring the names of the Poles who saved Jews. Then, "embedded" in the very plane of the yard are highlighted plaques with the names of those who lost their lives for saving Jews. The density of the illuminated plaques increases towards the entrance to the museum. On the plane of the yard,  like boats on a river, they form a peculiar procession of travelling lights that approach the threshold of the gate that is symbolised by the house eleva

 © Lech Kwartowicz

C.Lech KwarTowicz

博物馆大楼位于马科瓦的主干道旁，纪念1944年3月24日的事件。第二次世界大战期间，纳粹宪兵在马科瓦枪杀了Wiktoria和Józef ulma、他们的六个孩子和他们一直躲藏的犹太家庭。1995年，以色列Yad Vashem研究所授予Ulmas“国家间正义”的称号。2009年，在参加比赛的25项设计中，评审团选择了Nizio国际设计公司提出的方案。

The museum building occupies the site by the main road running through Markowa and commemorates the events of 24 March, 1944. During World War II in Markowa Nazi gendarmes shot Wiktoria and Józef Ulma, their six children and the Jewish families they had been hiding. In 1995, the Israeli Yad Vashem institute granted the Ulmas the title of the Righteous Among the Nations. In 2009, out of 25 designs submitted for the contest, the jury selected the proposal put forward by Nizio Design International.

 © Lech Kwartowicz

C.Lech KwarTowicz

Architects Nizio Design International

Location Markowa, Poland

Category Exhibition Center

Author Mirosław Nizio

Design Team Mariusz Niemiec, Bartłomiej Terlikowski, Agnieszka Czmut, Witold Skarzyński, Andrzej Koper, Anna Derach

Area 654.7 m2

Project Year 2016

Photographs Lech Kwartowicz

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