科尔察图标博物馆的建筑原本是一个由柱子和楼板（maison domino）组成的结构，在阿尔巴尼亚共产主义崩溃时被废弃。阿尔巴尼亚DEA工作室sh.p.k.受委托设计外墙，而BOLLES+WILSON则受科尔察市政府的委托，为300个正教圣像设计和开发内部展览设计。

The building for the Korça Icon Museum was originally a structure of columns and floor slabs (maison domino) abandoned when communism collapsed in Albania. The Albanian office DEA Studio sh.p.k. were comissioned to design facades and BOLLES+WILSON were then asked by the municipality of Korça to design and develop an interior exhibition design for the 300 orthodox icons.

外部厚重的墙体与小窗户的目的是为了给人一种适当的中世纪的阅读。从内部看，小窗户确实给人一种适当的神秘气氛，但从观看圣像的角度看，它们太亮了，需要一些内部遮挡，以避免小范围的外部亮光和周围的反差太大。

The heavy walls on the exterior with their small windows were intended to give an appropriate medieval reading. The small windows from the inside did give an appropriate mysterious atmosphere but in terms of viewing Icons they were too bright and needed some interior masking to avoid too much contrast between a small area of bright outside light and the surrounding.

展览组织
这三层空间被很好地划分为地下室档案馆和地面实验室/行政管理。展览空间属于入口层和一楼–这里的内部设计概念为参观者提供了一个特定的流通路线，并在公共空间和 “后屋 “之间进行了绝对的划分。出于安全考虑，这是必要的（公众不能进入正在制作图标的房间）。

Exhibition Orgaization
The given three levels subdivide well into Basement Archive with ground level laboritories/administration. The Exhibition spaces belong on the entrance level and the 1st floor – here the interior concept proposes a specific circulation route for visitors and an absolute division between public spaces and ‘back of- house’. This is necessary for reasons of security (the public must not have the possibility to enter rooms where Icons are being worked on).

入口层和一楼之间的地板已经被拆除，整个左手边的展览室。这样就有了一个新的楼梯，为参观者提供了一个简单而壮观的流动路线。新的楼梯可以看到9.5米高的金色墙面–这面墙面选择了彼得堡的悬挂系统–圣像的紧密包装，一幅幅图像挂毯覆盖了整面墙，让参观者对Korca收藏的规模印象深刻。

The floor between entrance level and 1st floor has been removed over the entire left hand exhibition room. This allows a new stair facilitating a simple and spectacular visitors circulation route. The new stair gives panorama views of a 9.5 metre high golden wall – for this wall the Petersburg hanging system was chosen – a close packing of Icons, a tapestry of images covering the entire wall, impressing visitors with the size of the Korca collection.

一系列的房间
室内设计理念是通过颜色来定义具有强烈个性的区域（左边是金色，中央的 “黑色迷宫 “区域为黑色亚光和亮黑色，右边的圣像屏风为红色）。顺序房间经过精心编排，以达到最引人注目的效果。

A Sequence of Rooms
The interior concept develops zones of strong individual character defined by colour (gold on the left, black matt and gloss black in the central ‘Black Labyrinth‘ zone and Red for the iconastas (Altar screen)on the right. The Sequential Rooms are carefully choreographed for the most dramatic effect:

(a) 入口大厅–一个抽象的拼贴架，用于销售商品，明信片、海报、当地手工艺品，甚至是由Korca艺术家（当地的新兴产业）绘制的小图标，都在这里展示和销售。

(a) Entrance Lobby – an abstract collage of shelves for merchandising, – postcards, posters, local handcrafts and even small Icons painted by Korca artists (a new local industry) are displayed and sold.

(b) 金色房间–两层楼高的金色屏风(也是包裹着侧墙的屏风，并驯服来自缝隙窗户的自然光)。屏风上挤满了偶像。 参观者自由漫步，然后踏上楼梯台阶，信息扶手告诉他们正在看什么。

(b) The Gold Room – a two floor high gold screen (one that also wraps the sidewalls and tames natural light from slit windows). The screen is packed with Icons. Visitors promenade freely and then step up to the stair landing where an information handrail tells them what they are looking at.

(c) 白色阳台–俯瞰金厅，它有一个沉重的黑色扶手和白色(传统博物馆)后墙，供一排小Icons使用。这些通向右边的一个开口。

(c) The White Balcony – overlooking the Gold Room, it has a heavy Black handrail and a white (conventional museum) rear wall for a row of small Icons. These lead to an opening on the right.

(d) 黑色迷宫–博物馆的中心区域特别黑暗神秘，半影中漂浮着单独点亮的Icons。墙面采用哑光和亮光的黑色和灰色拼贴画，以增强拼贴效果。侧面的凹槽，较低的天花板和木质地板使个别悬挂的圣像与观众亲密接触。

(d) The Black Labyrinth – the central zone of the museum is particularly dark and mysterious with individually lit Icons floating in the penumbra. Walls are painted in a collage of matt and gloss black and grey to enhance the collage effect. Side alcoves with lower ceilings and wooden floors bring individually hung Icons intimately close to viewers.

(e) 红色沙龙–参观者从黑色迷宫进入一个感性的空间，所有表面都是红色的。中央区域由一个10厘米高的平台界定，平台上摆放着圣像屏风（祭坛屏风）。

(e) The Red Salon – from the Black Labyrinth visitors emerge into a sensual space where all surfaces are red. The central zone is defined by a 10cm high platform on which stands the iconastas (Altar screen).

(f) 最后一个展览室是白色的，天花板上有灯光，这是一个空灵的空间。房间里陈列着14世纪最珍贵的两幅圣像。

(f) The final exhibition room is white with an illuminated ceiling – an ethereal space. The room displays the two most valuable icons from the 14h century.

建筑师：Bolles + Wilson
面积: 360 m²
年份：2016年
摄影：Roman Mensing
客户：Korçë市政府
原创建筑师：DEA工作室
建筑师负责人：Julia B. Bolles-Wilson教授，Peter Wilson先生
城市：Korçë
国家：阿尔巴尼亚
Architects: Bolles + Wilson
Area: 360 m²
Year: 2016
Photographs: Roman Mensing
Client:Municipality of Korçë
Original Architect:DEA Studio
Architects In Charge:Prof. Julia B. Bolles-Wilson, Peter Wilson
City:Korçë
Country:Albania