A White Frame for Art: Our Journey with the Museum of Modern Art in Warsaw

The Moment Everything Started

The vision for the building was shaped from the outset by Thomas Phifer and Partners together with APA Wojciechowski. Thomas Phifer, an American architect recognized internationally for his refined public buildings and competition-winning designs, approached the project with a strong focus on material integrity and light.

From the very beginning, the architects imagined an entirely white building — cast entirely in architectural concrete with a unique shade of white and perfect consistency across thousands of square meters. Before the final concrete mix was prepared, test formulas were developed as anonymous samples using different materials and various types of cement. Only the shade, tone, and behavior of the mix mattered.

The architects, Thomas Phifer and Partners together with APA Wojciechowski, imagined an entirely white building — not colored, but cast in architectural concrete with a natural brightness and perfect consistency across thousands of square meters. Before any cement name appeared on the table, samples were prepared anonymously. Only the shade, tone, and behavior of the mix mattered. 

After multiple mock-ups, the architects selected two materials from our portfolio for final trials: CEM I 52.5 N white and CEM II/A-LL 52.5 N white. Both met the visual expectations, but one of them did more than that — it aligned with the project’s environmental ambitions. 

Why CEM II/A-LL Became the Final Choice?

Choosing CEM II/A-LL 52.5 N marked a shift not only in aesthetics but in responsibility. It offered tangible environmental benefits that aligned perfectly with the project’s ambitions. By replacing part of the clinker with limestone — which requires no heating — the carbon footprint of the cement was reduced by approximately 8–10%, lowering CO₂ emissions. The change also made production more energy-efficient, cutting electricity use by nearly 10%, and water consumption was reduced from roughly 3.27 m³ to 3.03 m³ per ton. On top of that, less clinker meant a significant reduction in production waste, including refractory materials, absorbents, and chemical residues, which are difficult to recover. For a public building intended to serve future generations, these improvements were not just numbers — they were part of the architectural vision and the commitment to sustainability.

Building 20,000 m² of White Concrete 

The museum spans nearly 20,000 square meters, with four floors above ground and two below. More than 4,500 m² were allocated specifically for exhibitions. The rest was designed for education rooms, conservation labs, art storage, a reading room, auditorium, cinema, and a bistro with a bookstore. 

The extensive glass façades were conceived to let the city see in — to invite people from the street rather than hide the art inside. As architect Thomas Phifer described it: a “white frame for art”. 

To create that frame, every square meter of visible structure relied on the consistency and performance of the mix made with our white cement. Warbud SA served as the general contractor, with Warbud Beton delivering the ready-mix on site, while Portico Project Management supervised execution. Behind the Scenes: People and Precision During the supply phase, we didn’t just ship cement. There was expanded quality monitoring and cooperation with concrete technologists to ensure that both standard concrete and UHPC behaved predictably in real construction conditions. Architectural concrete doesn’t forgive inconsistency — every visible surface becomes part of the final experience. The production and quality control teams at the plant worked with strict internal standards and real-time lab testing. For us, this project became a turning point in how we approach white cement applications on the highest architectural level.

The Story Continues — On Film 

Once the museum opened its doors, we knew this story deserved to be told in a different way — not through technical reports or case studies, but through people. Together with Kaktus Studio, we created a film that brings the project to life from multiple perspectives. 

It explores the original architectural vision, the search for the right materials, and even the production of white cement itself. The film also touches on the construction journey and what it meant to everyone involved — from designers and technologists to the teams responsible for communication and execution. 

Among those who share their perspective are architects from Thomas Phifer and Partners, specialists from TBAIS, representatives of Warbud SA, voices from the Museum of Modern Art in Warsaw, and members of our commercial team. Each of them adds a layer to the story — not as a construction log, but as a shared reflection on how a bold concept took physical shape in the center of Warsaw.

An interesting detail from the film: Thomas Phifer, the lead architect and founder of Thomas Phifer and Partners, renowned for his award-winning designs and commitment to creating spaces that foster connections with nature, shares what warms his heart most — seeing children visiting the museum. These experiences will create core memories that could leave a lasting impact on the next generation. The film offers not a construction log, but a collective reflection on how a bold concept became a tangible, inspiring space in the center of Warsaw.