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CATECHESIS BEFORE CONFIRMATION FOR PERSONS WITH INTELLECTUAL DISABILITY (Katecheza przed bierzmowaniem osób z niepelnosprawnoscia intelektualna)

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Kicinski A.
Roczniki Liturgiczno-Homiletyczne (Liturgical and Homiletic Annals)
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2009
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vol. 56
181-191
EN
Polish catechists reject two opposing attitudes as follows: the first assumption suggesting, that persons with intellectual disability should achieve the same level of awareness and knowledge, as other fit and able baptised persons; the second assumption suggesting, that it is not at all possible to catechise persons with intellectual disability. The primary assumption of the concept of catechesis is, that persons with intellectual disability should be provided with possibility to familiarise with the mystery of Jesus Christ. Polish catechists emphasize the difficulty to evaluate accurately the degree of psychological or intellectual capabilities of persons with intellectual disability. Moreover, it is difficult to establish what communication capabilities those persons possess. That is why it is hard (or even completely impossible) to evaluate spiritual capabilities of persons with intellectual disability, in particular regarding persons with profound intellectual disability. In fact, nothing will happen automatically in catechesis for persons with intellectual disability. Thus, patience and stressing the most essential matters are of significant importance while preparing persons with intellectual disability for receiving sacraments. Focussing attention on the basic issues of Christianity does not involve rejection of other elements of evangelical message.
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DEVELOPMENT TENDENCIES OF EUROPEAN MUSEUMS AT THE THRESHOLD OF THE TWENTY FIRST CENTURY EXAMPLES FROM AUSTRIA, SWITZERLAND, LONDON AND BERLIN (Tendencje w projektowaniu budowli muzealnych u progu 21 wieku.... Rozwoj i kryzys)

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Kicinski A.
Muzealnictwo
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2004
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issue 45
125-144
EN
For more than twenty years museums in Europe as well as in the U.S.A., Mexico and Japan have been going through a period of extraordinary development. This boom was foreseeable and almost planned in the optimistic prognoses made more than forty years ago and dealing with ways of spending leisure time, which was envisaged as constantly growing in the course of economic progress. At the same time, collections, especially those of art museums, also increased. Already since the 1980s every town in Western Europe harboured the ambition of possessing a significant museum. Germany, Austria and The Netherlands witnessed the development of a new form of art 'halls' (Kunsthalle, Kunsthal) and art 'houses' (Kunsthaus) . The largest number of modern art museums is to be encountered in Switzerland, followed by Austria, Denmark, Greece, The Netherlands, Germany, France, Italy and Belgium. Programmes of constructing modern art museums seemed to have bypassed Poland. The author discusses ensembles of museums and culture centres which in their capacity as important sites in city plans affect the attractiveness of the whole region: MuseumsQuartier in Vienna, Louvre-Tuileries in Paris, the National Gallery in London, Schaumainkai in Frankfurt, the Berlin Museum Island and the Tiergarten Prussian Culture Centre, also in Berlin. The article considers examples of the coexistence of libraries and museums in the form of so-called mediateques which have been developing for the past few years, such as the one in Nimes. While discusssing the Gemaldegalerie in Berlin and the Sammlung Essl in Klosterneuburg, the author delved into tendencies towards ensuring maximum comfort for the visitors, discernible in the designs and realisations of art museums. The Tate Modern in London and Kunsthaus in Graz serve as examples of the so-called ennoblement of the worse bank, i. e. enhancing the attractiveness of a given region by situating within it an important museum. Unfortunately, the period of successes enjoyed by art museums in Europe passed over Poland, whose situation could have been improved by widely applied 'functional conversions', in other words, the use of post-industrial buildings for museum purposes. The construction of the SiIesian Museum or the Art Museum in Lodz would have been much more realistic if use had been made of historical factory halls, which are slowly turning into ruins.
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COMPETITION FOR A PROJECT OF THE WARSAW MUSEUM OF THE HISTORY OF THE JEWS IN POLAND - IDEA, AUTHORS, TASK, AND OUTCOME (Konkurs na projekt Muzeum Historii Zydów Polskich w Warszawie. Idea, twórcy, zadanie, wynik)

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Kicinski A.
Muzealnictwo
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2005
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issue 46
77-93
EN
The architectural competition for the Museum of the History of the Jews in Poland was held in two stages. The first, open stage encompassed entries of assorted architects together with their dossiers and with particular attention paid to existing museums. The documentation could also include reflections on the manner of understanding and interpreting the competition tasks. The first elimination selected 119 out of a total of 250 entries. Ultimately, 11 architects or teams were classified for the second stage: Daniel Libeskind - born in Poland, the author of the Jewish Museum in Berlin (1999); Peter Eisenman - American author of, i.a., the Wexner Center for the Visual Arts and the Library of Fine Arts at Ohio University (1989, 1993 the AIA awards); Kengo Kuma - awarded in, i.a. Italy (2001) for his project of the Stone Museum; Zvi Hecker - born in Poland - author of the Jewish school in Berlin and, first and foremost, the Palmach History Museum in Tel-Aviv; Lahdelma & Mahlamaki - Finnish designers (projects of the Forest Museum in Punkaharju (1994) and the Folk Arts Centre (1997) in Kaustinen); David Chipperfield - an English designer known for, i. a. the River & Rowing Museum in Henley (1998); Andrzej Bulanda and Wlodzimierz Mucha - two Polish designers i.a. of the BRE Bank in Bydgoszcz (1999) and the modernisation of the Old Paper Mill in Konstancin-Jeziorna for the purposes of a shopping centre; DDJM Co. Ltd. – Polish firm - designers of the Monument of the Belzec Death Camp, including a museum; Casanova+Hernandez Architects - Spanish winners of awards and distinctions, i.a. for the Canary Island Museum and the Tittot Artistic Glass Museum in Taipei; Weinmiller Architecten - German authors of, i.a., project of redesigning the Academy of Fine Arts in Hamburg (2002); Josep Lluis Mateo - MAP Architects - designers of the Contemporary Art Museum and auditorium in Castelo Branco (Portugal), and the St. Jordi University in Barcelona. The contestants were presented with the task of devising a conception of a building that would correspond to the functional requirements of its utilitarian programme. Particular attention was devoted to the possibility of arranging the main exhibition within the designed shape. At the same time, the proposed building, with its supreme architecture and an easily distinguishable and characteristic form, should become one of the Jewish symbols of contemporary Warsaw. First prize was presented to the Finnish team, and three distinctions went to: Kengo Kuma (Japan), Daniel Libeskind (USA) and Zvi Hecker (Germany). The Finnish project was recognised as the best due to its concise form, inner modular organisation, and definition of the dramatic public space surrounding the Monument of the Heroes of the Warsaw Ghetto. Special emphasis was placed on opening the interior onto the Monument and a park. The dramatically arched space with the texture of limestone, lit from above, is to symbolise the parting of the Red Sea - with all the associations relating to Polish-Jewish history.
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THE COMPETITION FOR THE MODERN ART MUSEUM IN WARSAW. EXPECTATIONS AND VERDICT (Konkus na Muzeum Sztuki Nowoczesnej w Warszawie. Oczekiwania i werdykt)

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Kicinski A.
Muzealnictwo
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2007
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issue 48
123-146
EN
We have been waiting for a Modern Arty Museum in Warsaw for the past fifty years, ever since the magnificent project of an expansion of the 'Zacheta' Gallery proposed by O. Hansen, L. Tomaszewski and S. Zamecznik in 1958. In March 2005 the President of Warsaw and the Minister of Culture and National Heritage signed a Letter concerning the construction of the Museum. A Museum director and Programme Council were appointed for the duration of the construction work. A discussion asking 'What Sort of a Museum'? was inaugurated in numerous periodicals, including 'Aspiracje', published by the Academy of Fine Arts. The initial premise was a museum of users and processes and not visitors and objects. An international competition for the museum's architectural conception was announced at the beginning of 2006. Out of a total of 109 proposed designs, three were awarded and 12 were distinguished, including a single honorary distinction and one special distinction. A plan for the surrounding of the Palace of Culture exerted a great impact on the competitors and the opinions of the international jury. The views expressed by the jury were divided. The best assessed (first and third prize as well as the distinctions) were Swiss minimalist works, including the winning project by Christian Kerez. In turn, a major part of the distinguished works was composed of projects aspiring to the rank of 'icons'. Among them the best one (special distinction) was a Finnish-Polish work proposing an expressive sculpted form. The awarded Polish project could be placed within the current of pop art. Outside the range of the distinguished works we come across interesting neo- and late-modernistic projects. Noteworthy interior design projects include conceptions, which placed the trade functions on the ground floor, the educational ones - on the first floor, and the exhibition ones - on the top stories of the building. Such solutions were suggested by the Swiss projects (first prize and distinction). An organization of the inner space around a central hall was suggested by, i. a. the winner of the third prize. Many projects (including the winner of the second prize) accepted as the functional and spatial skeleton of the interior the principle of inner passages and streets. Despite the competition guidelines relatively few projects implemented the recommendation to arrange a roof garden and exposition. Just as few (including the winner of the second prze and a special distinction) linked the space of the square in front of the Museum with the Northern Park. Some of the members of the jury regarded the outcome of the Warsaw competition to be highly controversial. The minimalist-winning project by Ch. Kerez was contrasted with the expressive Finnish-Polish design, which aspired to the rank of an 'icon' but violated the ascertainment of the plan and the programme premises. The Warsaw municipal authorities and the Ministry of Culture and National Heritage decided to choose the project proposed by Ch. Kerez.
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MUSEUM IN THE LANDSCAPE - KROLLER-MULLER IN OTTERLO, LOUISIANA AND ARKEN NEAR COPENHAGEN, ANDRE MALRAUX IN LE HAVRE AND ORONSKO (Muzea w pejzazu Kroller-Muller w Otterlo, Luisiana i Arken pod Kopenhaga, Andre Malraux w Le Havre i Oronsko)

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Kicinski A.
Muzealnictwo
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2008
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issue 49
256-273
EN
The origin of the idea of museums immersed in landscapes and art parks goes back to Hadrian's Villa in Tivoli. The sea and the entrance to the port in Le Havre together with sailing ships create the background of exhibitions shown at the Andre Malraux Museum, situated in an unusual spot - on a headland. Designed by G. Lagneau, 'Musee Malraux' was completed 12 years earlier than 'Centre Pompidou', and was the first museum with a single-space interior.The Kroller-Muller Museum near Otterlo lies in the very centre of De Hoge Veluwe - 55 square kilometres of forests, heaths and dunes. Opened to the public in 1938, and designed by H. van de Velde for Helene Kroller-Muller, the museum is a three-track configuration with a central patio and top lights. In 1953 it was expanded after the addition of a new wing with a conference hall and a sculpture gallery. In 1965, a consecutive extension created glass corridors with a view of the Sculpture Garden, which comprises an extremely important element of the museum. The Louisiana Museum of Modern Art in Humlebaek is known as the 'concealed' museum. Designed by Jurgen Bo and Vilhelm Wohlert it is the effect of several decades of expansion, from the small villa 'Louisiana' to a pavilion with a lowered section, which made it possible to, i. a., retain a view of the sea. In the course of the construction work the height of the showrooms was increased while preserving the idea of the original architecture and material. The inimitable character of the Louisiana has been bestowed by Nature and its symbiosis with architecture, as well as the programme and dynamics. The Arken Museum of Modern Art near Copenhagen, built in 1996 by S. R. Lind, is also on the Sund but differs greatly from the Louisiana. The enclosed outer plan, formalistic in its deconstructivistic details, cuts off the exposition, almost entirely derived of natural light, from the surrounding landscape, while the inside exposition is limited to elements accentuating the entrance. Maeght Foundation Modern Art Museum in Saint Paul de Vence, built in 1964 according to a project by J. L. Sert, is an example of an architecturally integral solution of the inner and outer exposition on a relatively narrow and sloping lot. The Centre of Polish Sculpture in Oronsko - an example of a museum and, simultaneously, an active culture centre, open-air exhibitions and workshops - has been created around a postmanorial complex designed by J. Brandt and supplemented with a Museum of Contemporary Art . The uniqueness and great variety of the collections, the compelling attraction of the great expositions, and the specificity of the location are the reasons why museums situated within a landscape, frequently distant from towns (a feature which theoretically is a barrier for the visitors), act as a magnet drawing both locals and tourists.
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WARSAW UPRISING MUSEUM IN THE LIGHT OF AN ARCHITECTUAL COMPETITION (Muzeum Powstania Warszawskiego w swietle konkursu architektonicznego)

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Kicinski A.
Muzealnictwo
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2004
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issue 45
36-45
EN
The decision to adapt for the purposes of the Warsaw Uprising Museum a historical and much neglected former Tram Power Station in Przyokopowa Street, was made in 2003. It was possible to open the museum on 1 August 2004, on the sixtieth anniversary of the outbreak of the Uprising thanks to the fact that the exhibition was featured in an already existing building, thus enabling the revalorisation of an edifice with neo-Romanesque elevations, erected in 1905-1908. The essence of the Warsaw Uprising Museum was to consist of didactics and an emotional impact similar to the Holocaust Museum in Washington or the Jewish Museum in Berlin. Only 14 projects took part in the competition for the museum's architecture, and the chosen one was devised by the Cracow-based Architectural Studio headed by Wojciech Obtulowicz. A second competition, dealing with the conception of the museum exposition, was won by young designers: Miroslaw Nizio, Jaroslaw Klaput and Dariusz Kunowski, authors of a modern exhibition maintained at the highest level and with the application of contemporary technical and technological potential (sound, image, computer science), which will tell the story of the Uprising by referring to the individual experiences of particular persons, shown through the prism of the fate and by resorting to publications, accounts and records of meetings with the insurgents. In this manner it will show the future generations the meaning of the August events, treating them as an element of patriotic education, important for the retention of identity. The exhibition will thus convey history and patriotism in an inspiring and modern manner; most important, it will pay homage to the Insurgents on the sixtieth anniversary of the outbreak of their heroic struggle.
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THE PEAK AND FUTURE OF MUSEUM GROUPS IN CITY CENTERS. NEW AND MODERNISED MUSEUMS IN PARIS, MADRID AND MUNICH (Rozkwit i przyszlosc zgrupowan muzeów w centrach miast. Nowe i zmodernizowane muzea w Paryzu, Madrycie i Monachium)

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Kicinski A.
Muzealnictwo
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2006
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issue 47
136-157
EN
The opening years of the twenty first century confirmed the success of museum groups in city centres which have proved to be attractive, convenient and pleasant for the visitors, especially when located next to promenades, parks and gardens. Excellent examples of such initiatives include Parisian realisations in the vicinity of the Louvre: the modernisation of 'Orangerie' and the 'Jeu de Paume' pavilion, as well as along the Trocadero - Eiffel Tower - Palais de Tokyo route: the construction of 'Musée du Quai Branly' and the modernisation of 'Musee Guimet'. In Madrid, 'Paseo del Prado' has been enhanced by an expansion of 'Centro de Arte Reina Sofia' and the erection of the 'Thyssen-Bornemisza Museum', while the area of the Munich Konigplatz has witnessed the emergence of a third Pinakothek - the 'Pinakothek der Moderne'. All these museum groups have come into being in mid-town districts featuring an attractive landscape. The history of museum design will indubitably include the unusual composition of 'Musee du Quai Branly' together with its integral interior, the conception of a 'tour river' full of bays and beach-heads, and a heterogeneous façade treated as 'architecture parlant', producing associations with a jungle and an interior presenting exotic art and folklore: a combination of unusual elliptical showrooms with an exposition of the Water Lilies by Monet. The 'Jeu de Paume' pavilion and 'Musee Guimet' are examples of a total exchange of the interior while leaving the historical facades. This is the way in which Rafael Moneo redesigned 'Palacio Villahermosa' into 'Museo Thyssen-Bornemisza', to which he added a new contemporary wing in the recesses of the garden. A successive expansion - Jean Nouvel's 'Centro de Arte Reina Sofia' in Madrid - consisted of linking three exhibition blocks, auditoria (together with a restaurant), a theatre, and a library, all standing below a gigantic roof and realizing the postulate of the harmony of the arts. One of the largest art museums in the world - the third 'Pinakothek' in Munich, is a combination of numerous archetypes of museum architecture, perfected by Braunfels and blended into an excellently working and magnificent synthesis. The facades and the flowing interior of 'Musee du Quai Branly', the library interior of 'Centro de Arte Reina Sofia', the lighting in the third 'Pinakothek' and its sculpted Rotunda will become a permanent part of the history of twenty first-century museum architecture.
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