Something new has been created in the heart of Warsaw - a space that is not only an architectural symbol, but also an expression of resilience and renewal. For a city whose past is full of moments of silence, an opportunity for a new beginning is opening up - to reclaim its cultural identity and redefine it. Here art plays a central role, and Varsovians gain a platform to create a contemporary narrative. The neighborhood of the Palace of Culture and Science is the context, the backdrop for a new chapter in the center of Warsaw.
Izabela Kutyla-Sztuk talks with Thomas Phifer, founder of New York-based studio Thomas Phifer and Partners, responsible for the design of the Museum of Modern Art in Warsaw, about the vision and process of creating the space and the importance of white in the context of the Museum of Modern Art in Warsaw.
Thomas PHIFER - Since founding Thomas Phifer and Partners in 1997, Thomas Phifer has completed the Museum of Modern Art in Warsaw, an expansion of the Glenstone Museum in Potomac, Maryland, an expansion of the Corning Museum of Glass in Corning, New York, the U.S. Courthouse inSalt Lake City, Utah, the North Carolina Museum of Art in Raleigh, North Carolina, the Raymond and Susan Brochstein Pavilion at Rice University in Houston, Texas, the Moody Amphitheater in Austin, Texas, two campus buildings for Indiana University, and homes throughout the United States.
Projects under construction include a TR theater in Warsaw, a center for artists in Maine, and Wagner Park Pavilion, a key component of the South Battery Park City Resiliency project in Lower Manhattan. Thomas Phifer is also involved in the construction of private residences in Texas, Maine and New York.
Izabela Kutyla-Sztuk: Congratulations on the grand opening of the Museum of Modern Art in Warsaw, so many people decided to visit this new symbol of the city. I guess it was an adventurous trip, also because of the prominent place the museum occupies in the urban space.
Thomas Phifer: Thank you. That's right. One of the key themes of the story is that after the Palace of Culture and Science was built and Warsaw began to rebuild after World War II, the city began to develop around the palace, park and square. For many years Warsaw, like Poland, was in a sense silenced, and the palace is a symbol of that silence. The city decided to locate the museum and theater in its neighborhood to express a new spirit, a new voice and a new beginning. The decision to locate the museum in the history-rich center of Warsaw was fundamental and led us to create a building that would be a strong architectural accent - something solid, durable and symbolic.
A tower with a communication riser
Photo: Nate Cook | courtesy of Thomas Phifer and Partners
We decided to use the concept of contrast. The building is white for two reasons. First, to make it more visible in the city. Its white gives it prominence, making it stand out in a way that darker materials surrounded by patinated buildings would not. Second, in a museum, it is the art that should play first fiddle, and white architecture makes this possible. In this case, the architecture provides a frame for the art, allowing it to shine.
Izabela Kutyla-Sztuk: AsI learned more about the complexity of this project, I began to see it as a white canvas for art - a space that is not an end in itself, but a place to display works. Is that the right approach?
Thomas Phifer: Yes. It makes the art more present and has the space to resound as the clou of the building's existence. It's about the art, and not necessarily about the architecture itself. The whiteness of the building is enough to make its presence in the city clear.
plan of the Museum of Modern Art in Warsaw
pic: © Thomas Phifer and Partners
Izabela Kutyła-Sztuk: When I noticed this whiteness, even before I read your biography, I thought: "This reminds me of Richard Meier." Later, reading more about your experience, I learned that this was a valid association. Do you see a connection here?
Thomas Phifer: Indeed, I worked for Richard Meier thirty-five years ago. We use a variety of materials in our projects, but in this case white was key. We wanted the building to have a strong presence in the city. If it had been made of darker stone, it might have blended too much with the rest of the city and lost its distinctiveness. The white gives it brightness, making it stand out in a timeless and symbolic way.
A cross section of the Museum of Modern Art in Warsaw
pic: © Thomas Phifer and Partners
Izabela Kutyła-Sztuk: This building can signify a new beginning for this place, be a symbol of renewal for the city. How do you respond to the part of the public that says the project doesn't quite fit into the context of the place or is too bold and alien?
Thomas Phifer: I don't follow social media or public comments about the building. For me, the most important thing is how it was received by the people of Warsaw, how many people were interested in it in the first week after the opening. I've worked on many projects, but I've never seen a building that fit so perfectly into a cultural moment in its surroundings as this one. When it gets more than 50,000 visitors in one weekend, you realize that it's just what the city needed. I see it as a new beginning.
A view of the main volume of the building with the communications tower with the Palace of Culture and Science in the background
Photo credit: Nate Cook | courtesy of Thomas Phifer and Partners
Izabela Kutyła-Sztuk: The Palace represents those darker, gray moments in our history.
Thomas Phifer: Yes, exactly. You can see that the palace has not been cleaned for a long time. It is dark, aged, even inside. It is a symbol of a history that has not always been positive. The new building is a symbol of hope, and white is part of it.
This new chapter would not have been possible without the huge commitment of the city government. The city has invested a lot in creating this building, and it's not just about the architecture - it's about perseverance and tenacity in creating a new beginning and bringing this project to completion.
Izabela Kutyla-Sztuk: You mentioned the numerous visitors. Why do you think the interest was so high? How does the architecture make people want to go inside?
Thomas Phifer: The people of Warsaw were curious about what the building would look like. I call it a magic box - a white form that comes to life when you go inside. The first floor and staircase function as social spaces, creating a dynamic experience that flows seamlessly through galleries and "urban rooms." These are places where people can sit, look out the window or gather around a library table. Never before have I seen people embrace the building's central space so enthusiastically. They move around it, taking selfies, photos - it's a space in motion. I am moved to see how much this building means to all visitors.
The stairwell - the main circulation route inside the building
Photo credit: Nate Cook | courtesy of Thomas Phifer and Partners
Izabela Kutyla-Sztuk: It seems that this is no longer your building, but belongs to the people.
Thomas Phifer: For an architect, there is a certain amount of sadness in this: you work on something for a long time, and then you have to let your own work exist without you. It is a feeling similar to sharing something very personal, letting it develop on its own while losing control over it.
Izabela Kutyla-Sztuk: This project took more than ten years to complete. What ultimately convinced the City to choose you as the architect of this unique space, including the TR Warszawa theater, which is still under construction?
Thomas Phifer: In the competition phase, we talked about creating a space of understanding, a place that would be open and welcoming to the people of Warsaw. We imagined the two buildings as forming a coherent whole, entering into a dialogue with the palace and the entire city. We understood the importance the building could have for Warsaw - from the beginning we were aware of the enormous potential the site had. I believe that's why we won.
Glenstone Museum of Art in Potomac, Maryland, United States (2018)
Photo: © Ivan Baan courtesy of Thomas Phifer and Partners
Izabela Kutyła-Sztuk: How often did you visit Warsaw during construction?
Thomas Phifer: Many times - I've lost count now. I flew directly from New York by LOT, which was very convenient. I was very involved in construction supervision, with invaluable support from our local partners in Poland - APA Wojciechowski, Buro Happold and many others. We supervised the construction site from a distance, but also visited it frequently. It was a very different experience from projects closer to home. However, we had to make sure that this building was being built with care and attention to detail.
We are still working on the theater, so we can see how the museum fits into the urban landscape, becomes an indispensable part of it.
North Carolina Museum of Art, Raleigh, United States (2010)
Photo: © Scott Frances courtesy of Thomas Phifer and Partners
Izabela Kutyla-Sztuk: How many people were involved in this project?
Thomas Phifer: Probably about two hundred. It was a real work of passion for everyone involved: from those who poured the concrete to those who made the wooden details in the interiors. The pride in the work is evident throughout the building. A beautifully crafted place has been created.
Izabela Kutyla-Sztuk: Speaking of details - do you have favorite materials or elements in the building?
Thomas Phifer: The concrete used is really special to me. One person from the contractor's team oversaw every aspect of the process, from the first drawings to the final result, ensuring incredible precision in the execution of all the concrete elements of the building. Another important aspect for me is the stainless steel doors. They are huge and very functional. "Urban rooms," on the other hand, are made of Polish ash wood, with incredible attention to detail. They allow visitors to sit down, experience the art and enjoy the view through appropriately placed windows, while touching this warm, authentic material.
The Federal Courthouse in Salt Lake City, Utah, United States (2014)
Photo: © Scott Frances courtesy of Thomas Phifer and Partners
Izabela Kutyła-Sztuk: I appreciate that Polish ash was used. This makes the building more rooted in the local culture. And in terms of the construction phase - were there any challenges that required adaptations to the design?
Thomas Phifer: We didn't make big changes, but there were countless small adjustments - thousands, really. Construction is always a dynamic process, and attention to detail is crucial to the effect we see now.
Izabela Kutyla-Sztuk: The subway underneath seems to be a big unknown causing a lot of execution difficulties.
Thomas Phifer: Yes, the subway was a unique challenge. Since the construction of the tunnels was started during the communist era, detailed documentation was lacking. We had to carefully plan the columns and beams to minimize vibrations from passing trains. Just getting to the first floor required more than a year of careful planning and construction. Foundations are often the most complicated and costly part of construction, especially in such challenging conditions. It's something you'll never see, but you know it's there and you can rely on it.
Corning Museum of Glass, New York State, United States (2015)
Photo: © Patrick Ewing courtesy of Thomas Phifer and Partners
Izabela Kutyła-Sztuk: Which of the other projects are closest to you?
Thomas Phifer: The Glenstone Museum and the Corning Museum of Glass are of great importance to me. Both serve culture and artists in unique ways.
Izabela Kutyła-Sztuk: Your projects either blend in perfectly with their surroundings or are bold accents, as in Warsaw. Is this intentional?
Thomas Phifer: Yes, each project has its own narrative. We try to create buildings that harmonize with the site, but that doesn't mean they have to blend in. Architecture should have the right tone for its surroundings. Glenstone, for example, makes an impression through its architectural strength, while at the same time harmonizing with its surroundings. It's a matter of balance.
Competition design for the National Archaeological Museum of Greece (2022)
vision: © Thomas Phifer and Partners
Izabela Kutyla-Sztuk: You are known as an architect specializing in museum buildings. What projects are equally interesting to you?
Thomas Phifer: Every project is unique, each is a new story with its own potential difficulties and challenges. For me, the key is understanding how to build. Creating conceptual designs is one thing, but real construction requires patience and cooperation. Architects do not work alone - we are part of a team with engineers, consultants and other specialists.
Izabela Kutyla-Sztuk: Working with others can be a challenge in itself. Thank you for sharing your thoughts. Finally, could you talk about current projects?
Thomas Phifer: We are working on Cine Colombia's headquarters in Bogotá, an art museum in Dallas, a resort for artists in Maine and a pavilion in New York overlooking the Statue of Liberty. We have no shortage of work!
Izabela Kutyla-Sztuk: Thank you for the interview.
interviewed by Izabela Kutyła-SZTUK
more: A&B 12/2024 - Third Places,
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