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从建筑南北立面看，波兰Michniów村庄烈士纪念馆让人想起成排的乡村木屋。这排具有象征意义的小屋具有触目惊心的外观，各节段撞击在一起并且断裂，如同灾难、地震或火灾后的场景。这座雕塑体是一座纪念馆，由Nizio Design International设计，象征着Michniów和其他波兰村庄在1943年二战期间发生的和平战役。2021年7月12日，在项目启动近13年后，陵墓于Michniów和平战役78周年之际的波兰村庄斗争殉难日正式开放。

Viewed from the outside, from its northern and southern elevations, the building of the Mausoleum of Martyrdom of Polish Villages in Michniów brings to mind wooden country cottages arranged one behind the other. This row of symbolic huts has a disturbing form. Individual segments are crashed together and become disintegrated, as after a cataclysm, an earthquake or a fire. The sculptural solid of the Mausoleum, designed by Nizio Design International, is an architectural memorial; a symbol of the pacifications that took place in Michniów and other Polish villages in 1943, during World War II. After nearly 13 years since the project’s inception, on July 12th, 2021 the Mausoleum was officially opened on the 78th anniversary of the pacification of Michniów – on the Day of Struggle and Martyrdom of Polish Villages.

▼项目鸟瞰，aerial view of the project © Marcin Czechowicz

该项目是纪念建筑，建筑体反映了破坏和毁灭的过程，激发Nizio Design International事务所负责人Mirosław Nizio创造了这种雕塑外观。纪念馆的前景如同乡村房屋。第一个完整部分是宁静之家（House of Tranquillity），紧随其后的节段呈现出扰乱“世界秩序”的戏剧性变化：建筑体被打散和破坏，如同经历了火灾一样。混凝土结构上有划痕和裂缝，引起人们的紧张情绪。历史事件及和平战役启发了纪念馆的外部体量、内部空间以及永久展览，它们象征二战和纳粹及苏联占领波兰期间村庄受到的镇压。

The building of the Mausoleum of Martyrdom of Polish Villages in Michniów is an architectural form of commemoration. The solid reflects the process of destruction, annihilation, that inspired Mirosław Nizio, the head of Nizio Design International, to create this sculptural form. In the foreground, the Mausoleum resembles a rural house. This first, intact part of the building is the House of Tranquillity. Subsequent segments convey the dramaturgy of the process that has upset a certain “order of the world”: the solid is degraded, destroyed, as in the aftermath of a fire. The concrete structure is marked with fractures, cuts, tears which generate emotions and tension. Both the architecture and the interior of the Mausoleum, as well as the permanent exhibition, are strongly inspired by historical events and the dramatic effects of pacification; they are a symbol of the repression that affected Polish villages during World War II and the Nazi and Soviet occupations.

▼俯瞰：被打散的体量，top view: scattered volume © Marcin Czechowicz

▼外观：有裂缝的混凝土结构，external view: racked concrete structure © Marcin Czechowicz

该项目始于2009年，当时由Mirosław Nizio带领的团队赢得了Kielce乡村博物馆组织的竞赛的一等奖。Mirosław Nizio回忆道：“我们观看了Michniów村庄战前的照片，照片上的村舍、居民及其日常生活场景使我们感受到充实、完整、自然的生活节奏。然而当我们看到1943年和平战役的照片时，我们看到了冲突、死亡和燃烧的房屋，我们触及痛苦的历史，体会到伴随生命消亡而产生的情感。我们感受到弥漫的、日益严重的破坏。这个过程推动了建筑外观和展览的设计。”

The project of the Mausoleum of Martyrdom of Polish Villages in Michniów was created in 2009. That was when the team led by Mirosław Nizio won the first prize in the competition organised by the investor – the Kielce Countryside Museum. “Viewing historical photographs of the pre-war village of Michniów with its cottages, its inhabitants, scenes from everyday life, we felt that we were interacting with something full, complete, with the natural rhythm of life. In turn, when looking at the photographs of the pacification of 1943, seeing human drama, death, burning houses, we touched upon painful history, experienced the emotions that accompany the violent breaking of the lifeline. We felt this pervasive and growing destruction. This process served as the impetus for the design of the exterior and the exhibition,” Mirosław Nizio recalls.

▼局部鸟瞰，partial aerial view © Marcin Czechowicz

该项目共占地1.6万多平米，其形式由雕塑灵感和统一建筑与历史叙事的愿望决定。纪念馆的庞大体量由11个节段组成，进入场地，首先映入眼帘的是五个封闭节段。雕塑般的断裂部分向自然、天空和景观敞开，随天气情况而变化。透过结构间的裂缝和玻璃可以看到围绕建筑的落叶松，它们的形状和象征意义影响了裂缝的形式。建筑体逐渐断裂，极富表现力，创造出独特的场所氛围。

The designed museum as a whole covers more than 16,000 m2. The form of the building was determined by sculptural inspirations and the wish for unity between the architecture that is being designed and the historical narration. The monolithic body of the Mausoleum consists of 11 segments – entering the premises, the visitor first enters five closed segments. The sculptural, degraded part is open to nature, sky and landscape, changing – sometimes abruptly – as the weather conditions change. Through the glazing and the rips in the structure one can see the larch crosses surrounding the building. Their shape and symbolism inspired the form of the rips. The expressive architecture and intentional, progressive degradation of the solid create a unique atmosphere of the place.

▼封闭节段，closed segments © Marcin Czechowicz

▼雕塑般的断裂部分，the sculptural, degraded part © Marcin Czechowicz

▼断裂部分向自然、天空和景观敞开，the degraded part is open to nature, sky and landscape © Marcin Czechowicz

▼裂缝入口，crack entrance © Marcin Czechowicz

▼断裂部分内部，internal view of the degraded part © Marcin Czechowicz

▼内部展出历史照片 © Marcin Czechowicz
internal display of historical photos

光线通过各节段之间的裂缝进入室内，随着时间和季节变化塑造了封闭和开放部分的永久展区。建筑和场景的细节提升了感官体验。混凝土上的木纹印记清晰可见，并且会形成铜绿，时间流逝和自然力量影响了它的质地和色泽。墙壁和屋顶结构以及钢构件上有水、灰尘和土壤的痕迹，这使建筑体更好地融入周围，根植于当地环境。

The light reaches the interior of the building through the cracks between the segments; depending on the time of the day and the season, it models the area of the permanent exhibition, located in the closed and open parts of the building. Architectural and scenographic details are designed to intensify the sensory experience. On concrete, the cool and ascetic material from which the solid is made, the symbolic imprint of the wood grain is noticeable. Concrete develops a patina. The passage of time and the forces of nature have influenced its texture and colour. The wall and roof structure and the steel components bear traces of water, dust and soil. This makes the solid become even more integrated with its surroundings and take root in the context of the place.

▼混凝土上的木纹印记 © Marcin Czechowicz
the wood grain imprint on concrete

▼混凝土细部，details of the concrete © Marcin Czechowicz

▼基地环境，site context © Marcin Czechowicz

纪念馆永久展览面积约为1700平米。室内使用的主要材料是混凝土、来自周围村庄旧棚屋和旧谷仓的木材、黑钢，它们共同构成展览叙事的媒介。这里展出现存照片、历史文献以及多媒体素材。观者可以感受到钢材和焦黑色木材的难闻气味，这些元素都是为了调动游客感官而设计。具有不规则形状的大型雕塑仿佛小屋的废墟，是博物馆展示内容的要素之一。一些雕塑上面覆盖黑色钢板，印有和平战役的历史。

The permanent exhibition of the Mausoleum covers an area of about 1,700 m2. The materials that dominate in the interior are concrete, wood from the old huts and barns that was brought in from the surrounding villages, and black steel; they serve as a medium for the exhibition narrative. The displays present photos and historical documents, multimedia. The viewer can feel the disturbing smell of steel and blackened, scorched wood. All these factors are designed to affect the senses of the visitors. Large-sized sculptural objects of irregular shapes, resembling ruins of huts, are one of the elements of the museum content presentation. Some of them were covered with sheets of black steel with prints presenting the history of the pacification.

▼混凝土、旧木材和黑钢组成的展览空间，exhibition space composed of concrete, old wood and black steel © Marcin Czechowicz

▼阳光透过裂缝和玻璃照进室内，the sunlight penetrates the room through cracks and glass © Marcin Czechowicz

▼祷告室，prayer room © Marcin Czechowicz

Nizio Design International同时着手建筑设计和永久展览设计，并关注这两种叙事的连贯性，体现该项目的巨大价值，在概念和建造阶段就得到全世界的赞赏。2011年，该工作室获得了欧洲房产奖公共服务建筑类别的荣誉。Nizio Design International建筑工作室是纪念堂的首席设计方。Mirosław Nizio领导的团队负责建筑和内部设计以及土地开发——包含概念、施工和实施阶段。该工作室还负责监督项目的实施，Mirosław Nizio则监管与永久性展览的场景设计和平面设计相关的活动。

The fact that Nizio Design International designed both the architecture and the permanent exhibition, taking care of the coherence of these two narratives, is a great value of the project, which has been appreciated all over the world already at the concept and construction stage. In 2011, the studio was honoured with the European Property Award in the Public Service Architecture category. Nizio Design International architectural studio is the chief designer of the Mausoleum. The team led by Mirosław Nizio was responsible for the design of the architecture and the interiors as well as for land development – in the concept, construction and implementation phases. The studio also provided the project author’s supervision over the implementation, and Mirosław Nizio oversaw the activities related to scenography and graphic design of the permanent exhibition.

▼细部，details © Marcin Czechowicz

▼夜景俯瞰，top view at night © Marcin Czechowicz

▼夜景鸟瞰，aerial view at night © Marcin Czechowicz

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