斯塔西斯博物馆/IIMPMNT建筑师

斯塔西斯博物馆/IIMPMNT建筑师
Stasys Museum / IMPLMNT architects

设计理念与目标明确：斯塔西斯博物馆的设计目标清晰，旨在通过创造高质量公共环境促进城市发展，提升城市中心品质。以服务公众利益为核心，提高生活质量，推动文化意识和艺术表达。其设计灵感不仅来自背景，还源于所致敬的艺术家作品，将简单、逻辑和幻想融入建筑结构，通过可预见的元素表达幻想，同时运用适度编码的隐喻，使建筑充满艺术气息。

功能与空间布局合理：建筑朝向经过深思熟虑，南侧自然形成大型公共空间，设有非商业电影院，满足市民需求，延续了地方价值。新公共空间充当街道之间的桥梁，连接西部景点与湖泊。建筑功能包括博物馆、展览馆、教育行政区域等，户外空间丰富多样，可举办各种活动。立面材质简洁，两种纹理混凝土与玻璃幕墙系统呼应建筑形状和美学。

建筑师提供的文字描述Text description provided by the architects. Stasys Museum is located in Panevėžys, Lithuania, in the northern part of the city center. The main goal of the project was to enhance city development by creating a high-quality public environment that enriches the city center. It focuses on serving the public interest by improving the quality of life and promoting cultural awareness and artistic expression within a democratic, communal space. Additionally, the museum seeks to establish itself as a leader in public services through superior content and functionality.

© Norbert Tukaj

Architecture Diagram 1

© Norbert Tukaj

为了创造建筑的结构，IMPLMNT建筑师不仅在背景中寻找灵感，而且在博物馆所献给的Stasys Eidrigevičius的艺术品中寻找灵感。Stasys Eidrigevičius是一位世界著名的跨学科艺术家，1949年出生于立陶宛Panevėžys区。因此，空间结果的代码是艺术家在致参赛建筑师的公开信中表达的三个字：简单、逻辑和幻想。建筑师通过建筑内外可预见的元素表达幻想，并通过这种方式将“Stasys Eidrigevičius的触感”编码到建筑中。
To create the structure of the building, IMPLMNT architects sought inspiration not only in the context but also in the artworks of Stasys Eidrigevičius to whom the museum is dedicated. Stasys Eidrigevičius is a world-famous interdisciplinary artist born in 1949 in Lithuania, Panevėžys district. Therefore, the code for the spatial result is a three-word key expressed by the artist in his open letter to the architects participating in the competition: simplicity, logic, and fantasy. Architects express fantasy through the elements that are foreseen both on the outside and inside of the building, and through this architects encode the "touch of Stasys Eidrigevičius" in the building.

© Norbert Tukaj

Ground Floor Plan

Stasys Eidrigevicius的作品中注意到了两个主要动机。线条或形状的连续性以及物体之间的相互作用、连接和变换。在此基础上，设计的解决方案在连接和表面上得到了证实。艺术家将隐喻作为艺术表达的工具，因此在设计建筑的空间中也使用了适度编码的隐喻。建筑的朝向经过深思熟虑，这样的地块布局自然在地块南侧组织了一个大型公共空间。在这个空间里，有一个具有非商业电影院功能的空间，这是该市居民非常想要的。在博物馆之前，有一个电影院，最终成为了这个地方形象的一部分。因此，人们认为电影是一种地方价值，而这种功能只是对新设计的文化对象的补充。
Two main motives were noticed in the works of Stasys Eidrigevicius. The continuity [of lines or shapes] and the interaction of the objects with each other, their connection, and transformation. On that basis, the designed solutions are substantiated - on connections and surfaces. The artist uses metaphor as an instrument of artistic expression, and therefore moderately encoded metaphors are also used in the spaces of the designed building. The orientation of the building is thought very carefully, such a layout on the plot naturally organizes a large public space on the south side of the plot. In this space, there is a volume that has the function of a non-commercial cinema hall which is what the city's inhabitants would very much like to have. Before the museum in the plot, there was a movie theater that eventually became a part of the image of the place. Therefore people consider cinema a local value, and this function only complements the newly designed cultural object.

设计的新公共空间充当了Krantas和Respublika街道之间的桥梁，同时在西部景点中心和Oxbow湖之间建立了高质量的联系。该项目的公共空间由两个区域组成——北部的活跃休闲区和南部的创意城市区。户外空间包括一个展览馆、咖啡馆和一个举办各种活动的区域：户外电影院、音乐会、表演和街头艺术。该建筑的功能包括两层楼的博物馆和展览馆，其中一层用于教育和行政，第二阶段的小厅目前用作入口空间，将成为一个专门用于媒体相关展览的空间。与建筑的形状和美学相呼应，立面的材质简洁明了。选择了两种纹理混凝土[点状和线性图案]和玻璃幕墙系统。
The designed new public space acts as a bridge between the streets of Krantas and Respublika, at the same time creating a high-quality link between the western attraction centers and Oxbow Lake. The project's public space consists of two zones - active leisure in the North and the creative urban in the South. Outdoor spaces include an exposition, cafe, and a zone for different kinds of events: outdoor cinema, concerts, performances, and street art. The functions of the building consist of the museum and exhibition halls spread over two floors, one floor is dedicated to education and administration, and the small hall, currently functioning as an entrance space, in the second phase will become a space dedicated to exhibitions related to the media. Responding to the shape and aesthetics of the building, the materiality of the facades is laconic. Two types of textured concrete [dotted and linear pattern] and a glazed facade system were chosen.