© Krzysztof Ingarden

(Krzysztof InGarden)

架构师提供的文本描述。2015年标志着“泰戈尼克·波什切尼”杂志“采访”出版以来的二十八个年头。在采访中，安杰伊·瓦伊达宣布，他打算在克拉科夫创建一个日本艺术和技术博物馆-这是展示费利克斯·马格哈·贾西·ń斯基收藏的日本艺术品的永久场所。1994年，在新大楼开放期间，没有人会想到新的设施会引发艺术家一系列的想法，促使在克拉科夫创造新的建筑以及新的文化和教育机构。这个项目在所有可能的方面都是前所未有的，在此之后，瓦伊达推出了更多的项目：带花园的茶馆、日本语言学校、怀斯皮亚ń滑雪2000馆，以及最近的一个项目-名为“欧洲-远东画廊”的芒加博物馆(Manggha Museum)的展览附件。

Text description provided by the architects. 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)

这座新建筑的构想是在2004年提出的，当时芒加博物馆(Manggha Museum)收购了位于UL附近的一小块土地。科诺菲尼基。该项目发起者的主要目标是扩大其跨文化艺术和展览活动的范围-从波兰-日语到欧洲-远东-这与波兰加入欧洲联盟相吻合。新的展览空间旨在展示欧洲艺术和东南亚文化，包括印度半岛。展览馆的节目为陈年及近期的艺术展览提供经费。这座新大楼有两层楼的展览室。按照芒加博物馆管理部门的计划，这两处都是经典的白色立方体空间，在表达上尽可能保持中立，允许展示各种形式的大多是现代艺术。芒加大厦强烈地感受到这种空间的缺乏，因为其主要展览空间的特点是根据历史艺术特别是纸张展示的具体要求而量身定做的，其中要求使用特殊的展示柜、专用照明以及适当控制湿度和温度。这些条件的狭隘说明限制了展示当代艺术的可能性。这座新建筑大大扩大了潜在展览的范围，使馆长在空间使用和展览项目类型方面有了更大的自由。此外，展览馆设有筹备展览所需的基础设施，以及存放空间、馆长办公室及大厦内专用泊车位。

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

(Krzysztof InGarden)

 Floor Plan

 Floor Plan

 Floor Plan

 © Krzysztof Ingarden

(Krzysztof InGarden)

建筑物的形式

THE FORM OF THE BUILDING

芒加博物馆的主要建筑是一个完整的完成的构图，有一个复杂而独特的屋顶形式，其特点是几何上以双曲线抛物面为基础的几个平面并置。任何试图补充或扩大这一构成的行动都将涉及破坏其无可置疑的和谐的危险。我认为，在主建筑附近的新设计工作应该尊重和突出其独特性，而仅仅创造一个合理中立的建筑背景，以补充和排序周围环境。因此，芒哈博物馆建筑在形式和功能上仍然是占主导地位的因素，而新建筑的规模和构成则从属于它。因此，它的外壳已被尽可能从接近芒加的主要入口移走，并位于那里，以防止它从UL阻挡现有建筑物的视野。科诺菲尼基。高度已与芒加起伏屋顶的规模相一致。为画廊设计了一个单独的入口区，有自己的楼梯、一个残疾人坡道和一个露台，可用于建筑物外的展览和艺术活动。露台的情况扩大了在芒加前面的公共空间，并创造了一个额外的城市内部，由这两座建筑的立面分隔。露台下的空间可容纳室内停车场。一楼的护栏线是芒加博物馆北墙边缘的延续，屋顶的高度-上层的护栏-低于博物馆大楼天窗上部的水平。门面由简单的玻璃和砂岩表面组成，与芒加前面现有室外建筑元素的类似形式-坡道和楼梯-相对应。南高程的对角线上部分对应于博物馆大楼前面坡道上栏杆的对角线。新建筑的建筑形式冷静、简约、含蓄，为主体建筑提供了一个离散的背景，从而突出了其独特的建筑表现形式。

The main building of the Manggha Museum is a complete, finished 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

(Krzysztof InGarden)

沿着乌尔。这座建筑的拟议侧线与路缘和人行道所确定的方向相对应，开始了沿街道走向Dębniki桥的新路线。在北部和东部，这座建筑的两侧是日本语言学校，是2004年京都-克拉科夫基金会建造的日本语言学校的建筑延续。学校建筑的栏杆高度是由建议的画廊正面相邻的碎片上的檐线所延续的。

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

THE STRUCTURE

画廊大楼有三层以上的地面和一个地下层，用于广泛的功能。组成该设施的部件的结构布局复杂且不均匀。这是由于场地的位置和复杂的几何形状造成的，但也是由于设施的多功能性质和现有建筑物的紧邻造成的。主要结构单元为钢筋混凝土板、板和柱。在地下室一级，支撑结构由25厘米厚的钢筋混凝土外墙和20至25厘米之间不同厚度的内墙组成的封闭系统提供。地下室墙的布置，加上基础板和“零”甲板，形成了一个刚性的箱形，将荷载传递到地面，并从外墙传递应力。外墙和基础板构成一个防水的水池，由防水混凝土制成.第一层(一楼)的支撑结构包括25厘米厚的外墙和20至25厘米之间不同厚度的内墙。第二层的结构由25厘米厚的板和25厘米厚的外墙构成，而突出的前墙也是25厘米厚。后一道墙不向下延伸，沿其高度附着在悬臂板上，而悬臂板是侧壁的延伸。这种结构体系-板、板和柱-具有传递所有应力和将荷载均匀分配到地面所需的空间刚度。

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)

Architects Ingarden & Ewý Architekci

Location Kraków, Poland

Category Gallery

Architectural Design Ingarden & Ewý Architekci

Co-designer Jacek Ewý

Area 2675.0 sqm

Project Year 2015

Photographs Krzysztof Ingarden