Key Ideological Assumptions: The "Theatergebäude" building, although part of the camp complex, has a location and entrance setting that do not allow visitors to directly experience the atmosphere or scale of Auschwitz-Birkenau. According to the authors of this project, individuals visiting the International Center for Education should tangibly feel their location right at the start of their visit. Therefore, the existing general functional layout of building A-51 was reversed. The main entrance was designed on the side facing the camp, in direct proximity to the camp's wire fences. The entrance hall was visually linked to the space within the camp through the fencing, enabling those inside the building to have direct contact with it. Placing the main entrance at the rear of the building allowed for the utilization of adequate space for a representative hall and foyer in front of the conference halls.
Design Assumptions: The adopted design method comprised subtle spatial and aesthetic maneuvers, devoid of grandiosity, respecting the place's character and existing substance, yet decisive enough to be distinctly noticeable in the space directly surrounding the building (ramps, a vertical gap in the northwest wall of the annex) and its interior (scenic openings to the camp, a single-space staircase).
The site layout and pedestrian circulation around the building emphasize the connection of the facility to the camp and shape the visitors' anticipation upon entering the building. A narrow concrete ramp running straight along the fence and gently sloping towards the building embeds itself into the annex's side wall—a vertical crevice housing the main entrance. The level of the new entrance sits slightly lower than the current ground level—thus, those descending the ramp feel a sense of descent, gradually intensifying as they approach the building. The entrance axis extends to the other side of the building, where another ramp rises towards the gravel area.
The former camp warehouse building was preserved in its original, raw, and simple state, in accordance with conservation recommendations, to distinctly showcase the historical substance that bears witness to history. New elements starkly differ from the historical fabric but, in their nature, evoke the atmosphere of the place (visible raw, unfinished concrete, black metal elements in communal interiors, dark wooden window frames, white ceiling areas between the exposed steel trusses above the staircase). The primary spatial element shaping the building's character is the single-space staircase. Filled with cool daylight from the northeast and with angled flights of stairs, it constitutes a kind of sculpture. Its layout, shape, and color scheme shape the experiences of those ascending it, while from the foyer of the main auditorium, there's a view towards the camp.
The configuration of the staircase fundamentally reverses the building's orientation—its main entrance, accessible to all visitors, is on the north side (facing the camp's fence), whereas the preserved entrance on the southern side (ul. St. Leszczyńska) serves guests and Center staff. This solution allows for the functional connection of different user levels, a clear separation of areas intended for staff from those for visitors, and provides an opportunity to create a visual connection between the main auditorium foyer and the camp space. The ability to perceive buildings, fences, squares, and equipment within the closed area serves as an introduction for visitors to engage with history and the educational program of the Center. The interior of the main staircase has become the most distinctive and memorable of the new elements of the facility. The floor of the main hall was made from smooth, naturally colored concrete, echoing the existing fencing around the camp. The building walls were cleaned and preserved in accordance with conservation requirements. The inner brick surface in the main staircase was cleaned and protected. The landings and stair runs of the main staircase were made from unfinished concrete, while their full balustrades have a steel structure covered with black cladding material. The reception area and walls shielding the stairs leading to the basement were also finished in black.
This way, a thoughtful color composition with a distinct, graphic character emerged in the main hall and staircase space, standing out from the tall brick walls with a light gray floor and platforms and stairs emphasized by thick black lines of the balustrades.
