DEVELOPING A CONCEPT FOR THE SEAT OF THE PRINCE LUBOMIRSKY MUSEUM IN WROCLAW - SARP COMPETITIONDEVELOPING A CONCEPT FOR THE SEAT OF THE PRINCE LUBOMIRSKY MUSEUM IN WROCLAW - SARP COMPETITION|

The planned building of the Princes Lubomirski Museum in Wrocław is located in the rich context of the Old Town architecture.The planned building of the Princes Lubomirski Museum in Wrocław is located in the rich context of the Old Town architecture.

Reading and then defining the needs and spirit of the place was adopted as the main assumption both in creating the space and the palette of moods that accompany them. The surrounding urban fabric was created in various cultural contexts, different periods of time and in different styles, however, despite the pluralistic context, it leaves a coherent image of the city in the reception. The location of the designed building does not bear the features of a dominant, it is located in a concise development and due to the way its architecture is perceived through specific perspectives and corners, it should be a nod towards treating the designed building as a complement to the set of "walls" in the city's urban planning. ARCHITECTURE In creating the principle of forming the building, the complexity and multithreading of the elevations of the neighboring buildings, their play of light and shade defined by depth and texture, rhythms and vertical articulation were taken into account. The dimensions, heights of cornices and ridges were designed so as not to disturb the reception of the existing space, but to consistently and responsibly fit into its definitions. At this stage, the materials and their colours are not directly specified, however, their differentiation in textures and reference to the materials of the surroundings are planned. Analyzing the main paths used by pedestrians, the corner at ul. Aleksandra hr. Fredry and Plac Uniwersytecki were chosen as the entrance zone. At 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 neighbouring buildings, they were reinterpreted in the form of simple reflecting planes wrapping around the designed building. The ritual of entering the building was designed to emphasize the value of the visited space, contrast and the element of surprise were used. A narrow passage to the height of the ground floor leads to the interior, which opens onto the space of a four-storey hall with upper lighting. The entrance hall zone, in order to maintain the importance of the space visited and the art viewed, constantly interpenetrates with the sightseeing path so that the 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 and exclusively as a communication of a temporary stay. The location of the Gallery of the Artistic Panorama of Old Lviv was chosen as the focal point in creating the space of the hall. It was located on the underground floor, however, a sign was left in the space of the hall in the form of a narrow opening in the ceiling, which arouses the interest of visitors, giving them a fragmentary image of what the Panorama Gallery hides, and in addition, this sign directs the space and the viewer to the main stairs leading to the sightseeing path. Such a justified location of the model was assumed, providing a number of solutions to protect its condition and safety. The exhibition spaces were arranged so that the direction of the tour was intuitive. During the tour, the potential user is constantly guided by a series of footbridges and stairs. Additionally, visitors are accompanied by selected images of the city in the form of views, e.g. of the Ossolineum elevation, the University Church elevation with the Oder panorama or a view of the Ossolineum baroque gardens accessible from the education zone. A division into different exhibition areas has been planned, thus providing many possibilities for arrangement. The universality of use is emphasized by the communication route allowing access to each of the exhibitions separately, avoiding the crossing of visitors' paths.Reading and then defining the needs and spirit of the place was adopted as the main assumption both in creating the space and the palette of moods that accompany them. The surrounding urban fabric was created in various cultural contexts, different periods of time and in different styles, however, despite the pluralistic context, it leaves a coherent image of the city in the reception. The location of the designed building does not bear the features of a dominant, it is located in a concise development and due to the way its architecture is perceived through specific perspectives and corners, it should be a nod towards treating the designed building as a complement to the set of "walls" in the city's urban planning. ARCHITECTURE In creating the principle of forming the building, the complexity and multithreading of the elevations of the neighboring buildings, their play of light and shade defined by depth and texture, rhythms and vertical articulation were taken into account. The dimensions, heights of cornices and ridges were designed so as not to disturb the reception of the existing space, but to consistently and responsibly fit into its definitions. At this stage, the materials and their colours are not directly specified, however, their differentiation in textures and reference to the materials of the surroundings are planned. Analyzing the main paths used by pedestrians, the corner at ul. Aleksandra hr. Fredry and Plac Uniwersytecki were chosen as the entrance zone. At 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 neighbouring buildings, they were reinterpreted in the form of simple reflecting planes wrapping around the designed building. The ritual of entering the building was designed to emphasize the value of the visited space, contrast and the element of surprise were used. A narrow passage to the height of the ground floor leads to the interior, which opens onto the space of a four-storey hall with upper lighting. The entrance hall zone, in order to maintain the importance of the space visited and the art viewed, constantly interpenetrates with the sightseeing path so that the 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 and exclusively as a communication of a temporary stay. The location of the Gallery of the Artistic Panorama of Old Lviv was chosen as the focal point in creating the space of the hall. It was located on the underground floor, however, a sign was left in the space of the hall in the form of a narrow opening in the ceiling, which arouses the interest of visitors, giving them a fragmentary image of what the Panorama Gallery hides, and in addition, this sign directs the space and the viewer to the main stairs leading to the sightseeing path. Such a justified location of the model was assumed, providing a number of solutions to protect its condition and safety. The exhibition spaces were arranged so that the direction of the tour was intuitive. During the tour, the potential user is constantly guided by a series of footbridges and stairs. Additionally, visitors are accompanied by selected images of the city in the form of views, e.g. of the Ossolineum elevation, the University Church elevation with the Oder panorama or a view of the Ossolineum baroque gardens accessible from the education zone. A division into different exhibition areas has been planned, thus providing many possibilities for arrangement. The universality of use is emphasized by the communication route allowing access to each of the exhibitions separately, avoiding the crossing of visitors' paths.