卡廷博物馆
The Katyń Museum
纪念与反思：卡廷博物馆项目的核心在于对历史悲剧的深刻反思和对受害者的庄重纪念。设计团队BBGK Architekci精准地把握了建筑在创造纪念场所中的关键作用。通过对19世纪华沙城堡的改造，项目巧妙地将历史建筑与现代设计语言相结合，打造出既能承载沉重历史，又能引发公众思考的空间。博物馆的选址本身就蕴含着丰富的象征意义，将曾经封闭的军事防御工事转变为开放的纪念场所，象征着从黑暗走向光明，从压抑走向自由。这种对历史遗址的再利用，赋予了建筑更深层次的文化内涵。
空间叙事与材料运用：博物馆的空间布局是一场精心策划的叙事之旅，建筑师通过不同的空间体验来讲述卡廷大屠杀的故事。从“死亡隧道”的压抑到“失踪者巷”的空旷，再到铭刻着受害者名字的牌匾，每个环节都引导参观者逐步深入地了解历史。材料的选择也与主题紧密相关，砖、灰泥和彩色混凝土等简单朴实的材料，营造出一种庄严肃穆的氛围。特别是彩色混凝土的运用，将受害者的个人物品和信件印在墙面上，使得建筑本身成为历史记忆的载体。这种材料的运用不仅增强了建筑的表现力，也赋予了博物馆独特的视觉冲击力，深化了对历史事件的感性认知。
象征与隐喻的融合：卡廷博物馆的设计巧妙地运用了象征和隐喻。主广场上的“卡廷森林”象征着被隐藏的真相，100棵树的种植则呼应了历史事件的残酷性。建筑内部的空间布局也充满了象征意义，例如“死亡隧道”和“失踪者巷”的设计，分别代表了对死亡的恐惧和对逝者的追思。建筑师通过对已有建筑的改造，将历史的痕迹与现代的设计理念相结合，创造出一种超越单纯纪念功能的空间。12米高的墙壁之间的缝隙，指向天空和铭刻受害者名字的牌匾，这种视觉引导，深化了参观者对历史事件的反思和对生命的尊重。这种巧妙的象征手法，赋予了建筑深刻的内涵，使其成为一个引人深思的文化场所。
/ BBGK Architekci
Courtesy of BBGK, Juliusz Sokolowski
Courtesy of BBGK, Juliusz Sokolowski
建筑师提供的文字描述。近年来，波兰华沙19世纪华沙城堡的地区一直在转变为欧洲规模上独一无二的博物馆综合体和纪念地。这座历史悠久的地区多年来一直对城市关闭，现在正成为纪念波兰历史的代表性空间。这是波兰2004年加入欧盟后众多文化投资中最大的公共发展之一。
Text description provided by the architects. In recent years, the area of the 19th-century Warsaw Citadel in Warsaw, Poland, has been undergoing a transformation into a museum complex and memorial site that is unique on a European scale. The historic area, which remained closed to the city for years, is now becoming a representative space commemorating the history of Poland. This is one of the largest public developments among the numerous cultural investments following Poland's accession to the European Union in 2004.
Courtesy of BBGK, Juliusz Sokolowski
Courtesy of BBGK, Juliusz Sokolowski
2023年，波兰历史博物馆和波兰陆军博物馆两座规划建筑中的第一座正式向公众开放。在此之前，卡廷博物馆于2015年落成。这种克制的极简主义设计已成为关于建筑在创造纪念场所和纪念社区过去困难或悲剧事件中的作用的讨论中的有力陈述。该博物馆入围了2017年欧盟当代建筑奖密斯·凡·德·罗奖，并获得了波兰最负盛名的建筑奖项，包括波兰建筑师协会奖和华沙市长建筑奖。不久，卡廷博物馆将成立10年。然而，它的架构表达仍然具有相关性。
In 2023, the building of the Polish History Museum and the first of two planned buildings of the Polish Army Museum were officially opened to the public. Before that, in 2015, the Katyń Museum was inaugurated. This restrained, minimalist design has become a powerful statement in the discussion on the role of architecture in creating places of remembrance and commemorating difficult or tragic events from the community's past. The museum was a finalist for the European Union Prize for Contemporary Architecture – Mies van der Rohe Award 2017 and received Poland's most prestigious architectural prizes, including the Award of the Association of Polish Architects and the Architectural Prize of the Mayor of Warsaw. Soon, it will be 10 years since the Katyń Museum was established. However, its architectural expression remains just as relevant.
Courtesy of BBGK, Juliusz Sokolowski
困难记忆的建筑——卡廷博物馆项目向建筑师提出了如何使用建筑语言讲述困难、悲剧事件的故事，并创造一个既纪念受害者家属又纪念集体的空间的问题。其中一个事件是卡廷大屠杀，这是波兰20世纪历史上最悲惨的事件之一。直到今天，卡廷仍然是苏联政权对波兰民族残酷政策的象征。卡廷博物馆由BBGK Architekci设计，展示了第二次世界大战期间发生的卡廷大屠杀的悲剧事件，并纪念了22000名被红军残酷杀害的波兰军官和国家官员。博物馆的使命是恢复对卡廷凶杀案的记忆，并记录其历史。它不仅仅是一个谋杀博物馆，本质上是一个纪念人民的地方。该博物馆位于19世纪堡垒华沙城堡的南部，包括三座历史建筑。博物馆是一个象征性的例子，展示了如何利用已有的建筑来达到设计目的。目睹了可怕的卡廷大屠杀的遥远森林不知何故出现在市中心的一个军事防御工事中。
Architecture of Difficult Memory - The Katyń Museum project posed questions to architects about how to use the language of architecture to tell the stories of difficult, tragic events and create a space that honors both the memory of the victims' families and collective remembrance. One such event is the Katyń massacre, one of the most tragic incidents in Poland's 20th-century history. To this day, Katyń remains a symbol of the Soviet regime's brutal policy against the Polish nation. Designed by BBGK Architekci, the Katyń Museum presents the tragic events of the Katyń massacre that took place during World War II and commemorates 22,000 Polish military officers and state officials brutally murdered by the Red Army. The Museum's mission is to restore memory about the Katyń homicide and document its history. It is not just a museum of the murder, but essentially a place created to commemorate the people. The museum is located in the southern part of a 19th-century fortress—the Warsaw Citadel—and includes three historical buildings. The museum constitutes an emblematic example of how pre-existing architecture can be employed to serve the designed purpose. The faraway forests that had witnessed the horrible Katyń massacres were somehow made present in a military fortification in the center of the city.
Courtesy of BBGK, Juliusz Sokolowski
主要的设计前提是创造一个安静和沉思的空间。建筑师选择了简单的材料，如砖、灰泥和彩色混凝土。卡廷博物馆的空间布局被设计为对物体和空间的差异化体验，形成了一种连贯的建筑叙事。整个建筑群被设计成一个公园，在主广场的中心有一片象征性的卡廷森林。那里种植的100棵树反映了可怕的战争罪行的真相，这些罪行曾被隐藏在树林里50多年。主展览布置在Caponier的两层，这是一座历史悠久的防御工事。第一层包含有关卡廷大屠杀的信息，游客可以在这里了解历史事实，并参观卡廷森林乱葬坑中发现的展品。展览的第二层致力于受害者家属的个人悲剧，构成了一个沉思的地方。
The principal design premise was to create a space dedicated to silence and contemplation. The architects selected simple materials such as brick, plaster, and stained concrete. The spatial layout of the Katyń Museum was designed as a differentiated experience of objects and spaces, forming a cohesive architectural narrative. The whole complex was designed as a park, with a symbolic Katyń forest in the center of the main square. The 100 trees planted there refer to the truth about the dreadful war crime, which used to be concealed in the woods for more than 50 years. The main exposition is arranged on two levels of the Caponier—a historic fortification structure. The first level contains information about the Katyń massacre, where visitors can learn about historical facts and see exhibits found in the mass graves in Katyń forest. The second level of the exhibition is devoted to personal tragedies of the victims' families, constituting a place for contemplation.
Courtesy of BBGK, Juliusz Sokolowski
博物馆的出口变成了死亡隧道——一条20米长的黑色混凝土通道，由Jerzy Kalina设计。这条黑暗的走廊通向失踪者巷。“失踪”是因为小巷里到处都是空的基座，上面只刻着死者的职业：“警察、医生、律师、建筑师……”这条小路通向第三座建筑——带玻璃拱廊的拱廊炮台，上面有15块牌匾，上面有21768名被谋杀的警察的名字。无论展览的叙述需要什么，建筑师都会使用彩色混凝土，将其变成一种建筑表达方式。受害者的部分信件和其他个人物品印在混凝土上，继续在建筑物外进行展览。这里的建筑表现力特别强。分隔城堡的12米高的墙壁之间的缝隙有两个方向：向下，朝向刻有受害者名字的牌匾，向上，朝向天空和光明。卡廷的戏剧性故事以树间的橡木十字架结束。
The exit of the museum turns into the Death Tunnel—a 20-metre-long passage constructed from black concrete, designed by Jerzy Kalina. This dark corridor opens towards the Alley of the Missing Ones. "Missing" because the alley is filled with empty pedestals, on which only the professions of the deceased are engraved: "police officer, doctor, lawyer, architect…" The path leads further to the third building—the arcaded cannon stand with glazed arcades, displaying 15 plaques with the names of the 21,768 murdered officers. Wherever the narration of the exhibition required it, the architects used stained concrete, turning it into a means of architectural expression. Parts of letters and other personal belongings of the victims are imprinted on the concrete, continuing the exhibition outside the buildings. The architectural expression here is especially strong. The gap between 12-meter-high walls dividing the Citadel leads in two directions: down, towards the plaques with the victims' names, and up, towards the sky and light. An oaken cross placed among the trees concludes the dramatic story of Katyń.
Courtesy of BBGK, Juliusz Sokolowski
