DAS MINSK Kunsthaus in Potsdam
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大堂和酒吧的室内设计
在20世纪，许多欧洲国家的电影院中，观众常常在电影已经开始后才入场，并在电影结束后继续留在影院，观看下一场的开头。今天，这种习惯对我们来说似乎有些奇怪。但仔细观察，这其实是非常自然的，正如生活的事物及其发生的方式。我们在父母和亲人早已存在时来到这个世界。所有的老师在我们出生之前就已经来到这个世界。因此，我们只能通过想象重构过去的一切。毕竟，我们不断试图弄清楚在我们到来之前发生了什么，以便决定如何继续前行。这是用过去的材料来创造未来的问题。
就像柏林及其周边地区一样，波茨坦的未来建设似乎是一项集体努力。这个未来由过去的可见片段组成，城市将这些片段作为多种可能叙事的材料。前身为“明斯克”的露台餐厅，建于1970年代的东德现代主义风格，是其中一个最显著的例子。
我们于2021年首次造访此地，此时哈索·普拉特纳基金会已购得该建筑，计划将其改造成现代展览空间，而海因尔·维舍尔及其合作伙伴也开始了细致的重建工作。对于我们这些来自国外的建筑师来说，这意味着从现在开始重建历史，以承认和尊重这个空间的文化遗产。
当 DAS MINSK Kunsthaus 在波茨坦委托我们设计新大堂和咖啡厅区域的室内时，我们与重要的历史遗产展开了对话，主要体现在主要结构网格、咖啡厅柜台的位置以及其后面空白墙壁的楼梯上。
我们设计了三个主要元素，以构建简单、干净的空间：两个被构思为“小型建筑”的柜台，通过楼梯背景的抽象构图在视觉上相连。我们特别设计了它，以改造现有的空白墙，将其转变为一个超越其单纯结构和空间功能的标志性元素。此外，我们引入了地板的线性插入和类似霓虹灯的照明系统，为空间提供了额外的细节层次和适当的活力。
这三个不同的主要元素旨在引发感知上的“尺度跃迁”，并吸引来自我们各自不同文化背景的类比世界。通过类比作为基本的创造方法，可以阅读、解读，并在我们的案例中设计和提出一个由理论结构支撑的室内理念，该结构复制了真实规模建筑的原则。
大堂和咖啡厅的主要家具被视为小型城市建筑 “比例1:24”，并让人联想到意大利的例子。具体来说，参考的是保存在米兰斯福尔扎城堡中的一只古老箱子，它再现了位于我们家乡热那亚的斯特拉达·努瓦的多里亚·图尔西宫的形状。同样，当我们看着大堂的桌子及其角落细节时，它们迅速让我们想起现代主义建筑的典型角落解决方案，这种感知的跃迁能够突出构成建筑的所有元素。确实，我们可以识别出构成立面的元素序列，它们在优雅的金属网格下相互追逐，网格将一切紧密结合，并从通过设计精确扫描的锥形元素获得的踢脚线升起。
在楼上，咖啡厅柜台将前身为“明斯克”露台餐厅的黑白照片的记忆投射到现在。我们通过几何重新诠释了原始设计的圆角细节，设计了一个新的3D形状的截面，沿着其长度变化和演变，从楼梯顶部开始。它的外观立即唤起了意大利阿尔莱基诺和塞特贝洛机车的形状和金属声的记忆，或者更早之前，罗马哈德里安别墅的佩基尔墙的半柱形起点。它甚至可以达到一个完整的扩展小社区的比例，令人想起曲折的热那亚福尔特·奎齐社区的无尽阳台。
为了使新的柜台被感知为一个小型城市块，我们去掉了柜台后面的墙 “如原东德项目所设想的”，设计了一个开放的空间，通过放置在楼梯墙上方的镜子，使空间看起来无尽。我们引入了这个关键元素，实际上使空间的视觉印象加倍，借助45度角的照明系统。因此，现在咖啡厅的背面不仅仅是一个简单的楼梯空隙，而更像是一个精心设计的舞台布景。
新标志性的咖啡厅柜台具备真实规模建筑的所有特征，通过其底座 “金属脚踏板”、主体 “回忆起“居住机器””和顶层柜台，成为一个虚拟元素，恰好在它拥抱现有的螺旋楼梯的那一刻。它对称地潜入分隔两层的空隙中。在“当代陶瓷挂毯”上，它在空间和时间上在大镜子中自我复制，镜子悬挂在“当代陶瓷挂毯”上，设计用于现有的空白墙。新的像素化表面旨在解构卡尔-海因茨·比尔科兹和沃尔夫冈·穆勒设计的旧东德建筑的原始壁纸，并在视觉上打破大型楼梯的后台。同时，它也在形式上连接了两个新的柜台——一楼书店的柜台和二楼咖啡厅的柜台。
支撑这三个主要元素的广泛概念在珍贵的饰面层中得到了完美的完成。通过持续的精细化过程，形式、并置和形式选择的平衡，以及独特而原始的建筑参考的结合，博尔哈根的动力瓷砖的抽象图案为整个空间增添了有效而珍贵的历史层次。
这是一位标志性东德陶艺家赫德维希·博尔哈根的杰作，由波茨坦DAS MINSK文化中心的创始主任保拉·马拉瓦西介绍给我们，特意在博尔哈根位于布兰登堡的主要工厂为此次活动重新制作的陶土和黑色陶瓷，准确覆盖了所有表面。这代表了在新室内布置的优雅外观下，广泛的历史、形式和文化话语的结论。因此，剩下的就是跨过建筑的门槛，立即面对新的标志性瓷砖墙。凭借其密集、独特的图案和红褐色的色调，这面墙成为过去进入现在的媒介，将新 DAS MINSK Kunsthaus 在波茨坦的历史投射到未来。
Interior Design of Foyer and Bar
During the 20th century, in many European countries, it was very common to enter a movie theater after the film had already started, and then stay after it had ended to catch the beginning in the next showing.
Today this may seem like a strange habit to us. But on closer inspection, it is very natural and very much like the things of life and the way they happen. We come into existence when our parents and relatives have long been alive. All our school teachers were born long before us. So, we can only reconstruct what came before using our imagination. After all, we are constantly trying to figure out what happened a moment before we arrived, in order to determine how to proceed. It is a matter of producing the future with the material from the past.
Like Berlin and its territory, Potsdam is where building the future seems to be a collective endeavor. It is a future composed of visible pieces from the past, which the city carries around as material for many possible narratives. The former terrace restaurant “Minsk,” built in the 1970s in the GDR modernist style, offers one of the highest examples.
We visited it for the first time in 2021, after the Hasso Plattner Foundation had purchased it to transform it into a contemporary exhibition space, and Heinle Wischer & Partners had begun its careful reconstruction. For us, architects coming from abroad, this meant reconstructing the History starting from the present in order to acknowledge and honor the cultural heritage of the space.
When the DAS MINSK Kunsthaus in Potsdam commissioned us to design the interiors of the new foyer and cafeteria area, we entered into a dialogue with an important historical heritage, mainly present in the primary structural grid, the position of the cafeteria counter, and the staircase with the blank wall behind it.
Three main elements were designed to articulate simple, clean spaces: two counters conceived as “small scale buildings”, visually connected by an abstract composition of the staircase background. We specifically designed it to modify the existing blank wall, turning it into an iconic element beyond its merely structural and spatial function. Moreover, we introduced linear inserts of the floors and a neon-like lighting system to provide an additional layer of details and the right amount of dynamism to the spaces.
Three different main elements, then, intended to induce a “leap-of-scale” in perception and to engage an entire world of analogies generating from each of our diverse cultural backgrounds. Proceeding by analogy as fundamental creative method, it is possible to read, interpret and, in our case, design and propose an idea of interior sustained by a theoretical structure that replicates the principles of real-scale buildings.
The main pieces of furniture of the foyer and cafeteria are intended as urban architecture in small format (scale 1:24), and are reminiscent of examples seen in Italy. Specifically, the ref- erence is an ancient chest kept in Castello Sforzesco in Milan that reproduces the shapes of the Doria Tursi palace in Strada Nuova, the main street in Renaissance times in our hometown, Genoa. Similarly, when we look at the foyer desk and its corner details, they quickly remind us of the typical corner solutions of a Modernist building, with that perceptual jump able to highlight all the elements that made buildings what they are. Indeed, we can recognize the sequence of elements composing the facades as they chase after each other under an elegant metal grid that holds everything together and rises from the skirting obtained by designing a precise scan of tapered elements.
Upstairs, the cafeteria counter projects the memory of a black-and-white photograph of the for- mer terrace restaurant “Minsk” into the present. We revived the rounded corner details of the original project by reinterpreting them geometrically with a newly-designed 3D-shaped section that changes and evolves along its length, starting from the stairhead. Its appearance immediately brings back the memory of the shapes and metallic sounds of the iconic Italian Arlecchino and Settebello locomotives or, way before them, of the half-column-shaped starting point of the Pecile’s wall at the Villa Adriana in Rome. It can even reach the proportions of a whole extended tiny neighborhood, reminiscent of the endless balconies of the sinuous Genoese neighborhood of Forte Quezzi.
To enable the perception of the new counter as an urban small-scale block, we got rid of the wall behind the counter (as intended in the original GDR project) and designed an open space that be- comes endless thanks to the mirror placed in the upper part of the staircase wall. We introduced this key element to double, de facto, the visual impression of the space, with the help of the 45-degree angled lighting system. So now the cafeteria backside is not only a simple staircase void, but more of an elaborate stage setting.
With all the features of real-scale architecture identifiable through its basement (the metallic footrest), the corpus (that recalls a machine à habiter), and the crowning countertop, the new iconic cafeteria counter becomes a virtual element the exact moment it embraces the existing spiral staircase. It dives symmetrically into the void that divides the two floors. It replicates itself in the big mirror that, infinite in space and time, stands upon the “contemporary ceramic tapestry” designed for the existing blank wall. The new pixelated surface aims to deconstruct the original wallpaper from the old GDR building by Karl-Heinz Birkholz and Wolfgang Müller and to visually break down the large staircase backstage. While doing so, it also formally connects the two new counters - the one from the bookshop on the ground floor, and the one from the up- stairs cafeteria.
This extensive concept underlying the three main elements finds the perfect completion with the precious finishing layer. Thanks to a continuous refinement process, the balance of forms, juxtapositions, and formal choices, in combination with the unique and original mix of architectural references, the abstract patterns of Bollhagen’s Dynamo tiles give the entire space an additional effective and precious historical layer.
A masterpiece of the iconic GDR ceramist Hedwig Bollhagen, introduced to us by Paola Malavassi, founding director of DAS MINSK Kulturhaus in Potsdam, the terracotta and black ceramics, specially reproduced for this occasion in Bollaghen’s main factory in Brandenburg, accurately cover all the surfaces. This represents the conclusion of a wide historical, formal, and cultural discourse under the elegant guise of the final new interiors’ setup. All that remains, therefore, is to cross the building’s threshold and immediately face the new iconic tiled wall. With its dense, unique pattern, with its reddish and sepia hues, the wall is the medium through which the past steps into the present, projecting the History of the new DAS MINSK Kunsthaus in Potsdam into the future.