The planned building of the Princes Lubomirski Museum in Wrocław is located in the rich context of the architecture of the old town.
Reading and then defining the needs and spirit of the place have been adopted as the main assumption both in creating the space and the palette of accompanying moods.
The surrounding urban fabric was created in various cultural contexts, different periods of time and in various styles, however, despite the pluralistic context, it leaves a consistent image of the city.
The location of the designed building does not bear the hallmarks of a dominant feature, it is compactly built-up and due to the way its architecture is perceived through specific perspectives and corners, it should be a tribute to treating the designed building as a complement to the complex of “walls” in the city’s urban planning.
In creating the principle of forming the building, the complexity and multithreading of the facades of the neighboring buildings, their play of chiaroscuro defined by depths and texture, rhythms and vertical articulation were taken into account. The dimensions, heights of cornices and ridge tiles are designed so as not to disturb the reception of the existing space, and consistently and responsibly fit into its definitions. At this stage, the materials and their colors are not specified directly, however, their different textures and reference to the surrounding materials are expected.
Analyzing the main pedestrian paths, the corner at ul. Aleksandra count. Fredry and the University Square. On the ground floor level of the building, the entrance square was shaped so that its geometry continued the perspective of the University Church.
Taking into account the high ground floors of the neighboring buildings, their reinterpretation was undertaken in the form of simple planes reflecting the image surrounding the designed building.
The ritual of entering the building was designed to highlight the value of the space visited, using contrast and an element of surprise. A narrow passage leads to the ground floor level, which opens onto the space of a four-story hall with upper lighting. The entrance hall zone, in order to maintain the importance of the visited space and the art viewed, constantly intertwines with the sightseeing path so that architecture can take an active part in the presentation of art, and not be limited only to a set of consecutive rooms, and the hall only as a communication of a temporary stay.
The location of the Old Lviv Plastic Panorama Gallery was chosen as the focal point in creating the hall space. It is located on the underground floor, however, in the hall space there is a sign in the form of a narrow opening in the ceiling, which arouses the interest of visitors by giving them a residual image of what the Panorama Gallery hides, moreover, this sign directs the space and the viewer to the main stairs leading to the sightseeing path. Such a justifiable location of the mock-up was assumed, envisaging a number of solutions securing its condition and safety.
The exhibition spaces are arranged so that the direction of visiting is intuitive. During the tour, the potential user is constantly led by a series of footbridges and stairs. In addition, visitors are accompanied by selected images of the city in the form of views, for example, on the facade of the Ossolineum, the facade of the University Church with a panorama of the Odra River, or a view of the Baroque gardens of the Ossolineum accessible from the education zone.
A division into various exhibition areas has been planned, thus giving many arrangement options. The versatility of use is emphasized by the communication that allows you to reach each of the exhibitions separately, avoiding the crossing of visitors’ routes.