The author presents the history and the role of the Museum of the First Piasts on Lednica. He discusses stages of successive development — the transformation of the Ostrow Lednicki archaeological reservation into a museum, the creation within its framework of the Lednicki Ethnographic Park and the Lednicki Landscape Park, as well as the addition of the archaeological reservation in Giecz and a number of ethnographic objects preserved in situ. Finally, the article considers the assets and faults of organising such a complex and the principles of the co-operation of the Museum with the authorities and the local community.
Artykuł jest pierwszą próbą przedstawienia historii powstania i kształtowania się zasobu archiwalnego Muzeum „Górnośląski Park Etnograficzny w Chorzowie” oraz księgozbioru muzealnego na przestrzeni lat 1969–2019 z uwzględnieniem specyfiki muzeów na wolnym powietrzu w Polsce. Niniejsze opracowanie powstało głównie na podstawie dokumentów przechowywanych w archiwum zakładowym MGPE. Ważne informacje zawarte były również w artykułach różnych autorów związanych z realizacją badań terenowych budownictwa drewnianego, stroju i folkloru prowadzonych na Górnym Śląsku w latach 1952–1963, opracowaniach naukowych zamieszczonych w czasopismach i wydawnictwach ciągłych. Cenny był również materiał wspomnieniowy uzyskany w czasie rozmów z osobami, które uczestniczyły w tych badaniach oraz pracach związanych zarówno z powstaniem założeń projektowych i realizacyjnych zagospodarowania przestrzennego, jak i budową muzeum.
EN
The article is the first attempt to present the history of the creation and development of the archival resource the Museum “Upper Silesian Ethnographic Park in Chorzów” and the museum’s book collection in the years 1969–2019, taking into account the specificity of open-air museums in Poland. This study was based mainly on documents stored in the museum’s archives. Important information was also contained in articles by various authors related to the field research on wooden construction, clothing and folklore conducted in Upper Silesia in years 1952–1963, as well as in scientific studies published in journals and periodicals. Furthermore, the memoirs obtained during interviews with people who participated in these studies and works related to both the design and implementation assumptions of the spatial planning, and the construction of the museum were also highly valuable.
The Museum of the First Piasts at Lednica (two of the four branches: the Early Piast Residence Ostrów Lednicki and the Wielkopolska Ethnographic Park in Dziekanowice) are located in central Wielkopolska [Greater Poland] on the eastern shore of Lake Lednica. It is an open-air museum that encompasses archaeological and ethnographic exhibitions. This paper presents the results of several years of research, which included the analyses of the functional and spatial structure of the museum, its composition and landscape relations. The conclusions from the research allowed for the formulation of guidelines and, consequently, the development of the concept of visiting a museum facility and shaping its space to meet the diverse needs of tourists and making the most of the potential of this space. The research demonstrated that spatial disintegration is one of the most significant problems of the Museum of the First Piasts at Lednica. The paper suggests therefore that functional and compositional relations should be created between individual areas, currently separated from each other. The presented concept is based on a zonal-nodal-linear system, constructed by distinctly organised and composed zones of varying purposes, four nodal points and four sightseeing routes. The proposed composition arrangement is supposed to bind the entire currently inhomogeneous museum space. The concept takes into account the diversity of tastes and needs of different groups of users, and at the same time indicates the use of the potential of the landscape. Individual means of expression used (elements of equipment, surfaces, greenery) are to inform and guide guests, encourage them to explore the museum space and read the content recorded in the landscape. The museum narration is carried out as part of a series of consecutive interiors of varied scale and composition, equipped with various architectural and plant elements. The concept also includes proposals for other activities in the field of landscape design, which plays the role of the content of the exhibition and its background in the case of openair museums. The article points out that the landscape background area should be protected in the spatial planning process and properly shaped using various methods and means of spatial planning and landscape architecture. The protection should cover all areas within the landscape background, in accordance with the designated visibility range. Ad-hoc actions aimed at the proper development of areas in the landscape background zone, without the need to introduce new legal regulations, are also possible. It was proposed that a curtain layout of greenery should be planted perpendicular to the axis of the view in order to obscure negative spatial accents in the areas adjacent to the Wielkopolska Ethnographic Park. Not only disharmonious structures should be covered, but also new view relations should be shaped and openings exposing the most attractive fragments of space, currently invisible, should be framed. For this purpose, it was proposed that part of the vegetation growing on the shore of Lake Lednica should be removed in order to create extensive views of the reservoir. It would also be beneficial to shape view openings to the surrounding farmlands, a characteristic spatial feature of the villages of Wielkopolska. The problem of shaping the space of the Museum of the First Piasts at Lednica discussed in this paper is in line with the current search for new solutions, increasing the readability and attractiveness of museums’ exhibitions. The currently observed globalisation processes, communication revolution and unlimited access to information create a new type of recipients. The recognition of their needs and expectations as well as the motives of their decisions and choices is necessary for the proper shaping of the museum space.
Maria Znamierowska urodziła się 13 maja 1898 r. w Kibartach na Litwie. W latach 20. XX w. studiowała etnologię na Uniwersytecie Stefana Batorego (USB) w Wilnie pod kierunkiem prof. Cezarii Baudouin de Courtenay-Ehrenkreutz oraz prof. Kazimierza Moszyńskiego. Pracę rozpoczęła w stworzonym przez prof. Ehrenkreutz uniwersyteckim Muzeum Etnograficznym, które poza kolekcją kultury materialnej prowadziło badania i gromadziło zapisy folkloru ustnego i muzycznego. M. Znamierowska organizowała wystawy budownictwa ludowego oraz prowadziła badania ludowego rybołówstwa, czego dotyczyły jej prace – magisterska i doktorska. W 1925 r. wyszła za mąż za zoologa i entomologa prof. Jana Prüffera. Po II wojnie światowej Znamierowska-Prüfferowa przybyła razem z grupą profesorów USB do Torunia, i na nowo utworzonym uniwersytecie została zatrudniona jako adiunkt w Katedrze Etnologii i Etnografii Uniwersytetu Mikołaja Kopernika (UMK). Próbowała zorganizować przy Katedrze muzeum etnograficzne na wzór wileński, ale mogła tylko stworzyć dział etnograficzny w Muzeum Miejskim w Toruniu (1946–1958). W 1955 r. otrzymała tytułu profesora, a w 1959 r. otworzyła odrębne Muzeum Etnograficzne w Toruniu, tworząc także przymuzealny park etnograficzny. W 1963 r. powstała jej najważniejsza wystawa „Tradycyjne rybołówstwo ludowe w Polsce”. M. Znamierowska-Prüfferowa była zaangażowana w powstawanie w Polsce muzeów na wolnym powietrzu i publikowała na temat muzealnictwa etnograficznego. Dyrektorem toruńskiej placówki była przez 13 lat, zostawiła muzeum z kolekcją 15 000 eksponatów i obszernym Archiwum Folkloru. W latach 1958–1963 była kierownikiem Katedry Etnografii UMK, a do 1988 r. prowadziła wykłady z muzealnictwa. Brała udział w wielu konferencjach etnologicznych i muzealniczych w Europie. Aktywnie pracowała w Polskim Towarzystwie Ludoznawczym, pełniąc różne funkcje, a w 1978 r. została jego członkiem honorowym. Na emeryturze nadal prowadziła badania terenowe i pracowała nad ostatnią publikacją, będącą podsumowaniem jej badań nad rybołówstwem (1988). Zmarła w 1990 r. w Toruniu i tutaj została pochowana. Od 1990 r. Muzeum Etnograficzne w Toruniu nosi jej imię.
This paper is devoted to the issue of wooden architecture protection in so called open-air museum. Unique form of certain buildings is closely related to their educational and expositional functions. In the museums attempts are frequently made to reconstruct the whole village cultural landscape in a given period of time. This aspect is often more important than the building history or the original materials maintenance. What is more, the conditions of rural architecture are worsening all the time. These factors contribute to the phenomenon of making copies of the buildings. The ideas of this kind are nowadays widely applied by a number of museums. The issue of creating a new museum as well as the attempts made to maintain original monuments has been analyzed on the examples of six conservation projects of the buildings earmarked to be transferred to Olęderski Park Etnograficzny (Haulander Ethnographic Park) in Wielka Nieszawka. These buildings are very much unique in terms of construction as well as spatial design. They were adjusted to the terrain conditions of the Vistula plains exposed to floods. This manner of building was typical of the Haulander colonization. Most of the most valuable buildings come from the 18th century. They will be removed and transferred to the reconstructed cultural landscape dated back to the beginning of the 20th century. Detailed architectural research enabled to establish the chronological boarders of the whole project. The most important features of the buildings were revealed through the analysis of the building materials, reconstruction and the final conceptual project. Three farm buildings will be inserted in the historical village landscape. These are: the one that includes staff rooms, cash desk and the exhibition dedicated to Protestantism; the one that shows impoverished single-building farm typical of the 18th century and the wealthy one that consists of arcade house, workers house, granary and the barn. The latter is to present the prosperous farm typical of the beginning of the 20th century. What is significant, the possibilities of reconstruction have been taken into consideration while preparing the area. That means the maintenance of the original substance (often in deteriorating conditions) was the most important in the project while the restoration work was limited. Translated by Karolina Pszczółkowska
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