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DESIGN4 MUSEUM WORKSHOP
THINK, PROJECT, TRANSFORM, COMMUNICATE
TITLE DESIGN 4 MUSEUM. THINK, PROJECT, TRANSFORM, COMMUNICATE
DATE OCTOBER 15, 2016
ORGANIZERS CANactions IED - Istituto Europeo di Design
CASE National Center for Folk Culture “Ivan Honchar Museum” Lavrska Str. 19
AIM The main aim of the workshop is recreate the space of the museum both real and virtual to create a new life approach among the citizens of the city.
GENERAL APPROACH GENERAL THEME Ivan Honchar Museum of Traditional Ukrainian Costume and Textile GENERAL TASK Review of what is the museum now and what could be done in the near future FORMAT Real case / 1-day workshop / Cross-disciplinary groups of young designers and architects / 3 packages of results DELIVERABLES Moodboards / Sketchings / Vision statements (illustrations and texts) OUTCOMES Strategic framework for Ivan Honchar Museum of Traditional Ukrainian Costume and Textile / Each groups’ presentations in form of moodboards and sketchings / Final booklet with the workshop results compiled by October 18, 2016 GAINED SKILLS Teamwork / Work with real case / Presentation skills
LANGUAGE ENGLISH
TUTOR GIOVANNI OTTONELLO / Art Director IED - Istituto Europeo di Design / Milan / Italy
Giovanni Ottonello was awarded the degree in Architecture at Genoa and after various experiences in the field of museum and scenographic exhibits, approached the world of fashion through the study of fabric in its variety of expressions and designs. Giovanni helped to set up, order and launch an event at the Diocesan Museum in Genoa. He worked with the National Gallery of Palazzo Spinola and Palazzo Ducale in Genoa, the set designer and director Pierluigi Pizzi and the Piccolo Teatro in Milan. Consultant for such companies as Salvatore Ferragamo, Bottega Veneta, Hugo Boss, Mandarina Duck, Rubelli, Conbipel, Carrefour, Artsana, Lancia, Ethos and many others not only in fashion but also in visual merchandising. Food designer for two years at Design Week in Milan, working on a new approach to eat and a new shape of food. His current work involves lectureships and participation in seminars or conferences ranging from graphics, to fashion, from design to photography and contemporary art in various design and fashion institutes. Professor Ottonello is Art Director of IED Istituto Europeo di Design. Some of his collaborations are with Politecnico Milan, Accademia della Scala, Domus Academy, Confindustria Macerata, Italian Cultural Institutes in Moscow, BogotĂ , Baku, Saint Petersburg and Munich, Dante Alighieri Association in Nuremberg, Accademy of Fine Arts in Tbilisi (Georgia), FAD School in Pune (India), Ural University of Architecture and Art in Ekaterinburg (Russia), Almaty Technological University (Kazakhstan), Kyiv National University of Technology and Design (Ukraine), Universidad de Los Andes and Tadeo in BogotĂĄ (Colombia), University of Tsinghua, Senmiao, Yingsheng, BIFT in Beijing, NUCH, IDAF in Seoul and many others.
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ABOUT CANACTIONS CANactions is the educational platform, our mission is to enhance the creation of places and communities in Ukraine where people love to live and work. We integrate the most relevant world experience in the sphere of architecture and urbanism to educate and inspire responsibly active change makers. At the present moment the great social demand has been triggered for principled reform of existing relationships between citizens and other actors (business, government authorities, professionals) which shape our everyday life in different dimensions – from cultural to spatial. This has immediately led to the questions – ‘Who are those changemakers which could moderate the process of building new types of connections in Ukrainian cities?’ and ‘What tools and approaches do they need to be able to successfully deal with complexity of the current challenges?’ All of these issues have become a starting point for establishing CANactions School for Urban Studies. Throughout the year various open educational events are held as a part of СANactions Public Program. CANactions International Architecture Festival — the largest architectural event in Ukraine, runs annually since 2008.
PARTICIPANTS INFORMATION REQUIRED SKILL LEVEL AND FIELD OF STUDY FOR PARTICIPANTS THAT CAN APPLY: • young designers / architects • the importance of being cross-disciplinary LIST OF APPLICATION MATERIALS: • Fill the form - http://goo.gl/9bsNIW • CV • Portrait photo • Portfolio, no more than 5 images in high resolution in .PDF format The organizers will choose 30 participants to work on the workshop at October 15, 2016. Participants of the workshop will be divided into 3 groups according to their wish and previous experience with an aim of the complex approach to the task. All groups will work on materials, mood, budget and sketching. Each group will be divided in 3 subgroups. Each group will include the leader and 3 participants to work on the case of the subgroup. These groups and subgroups are:
ABOUT IED /
TEAM A - ART EXHIBITION A.1. New Shape A.2. New Tour A.3. New Show
ISTITUTO EUROPEO DI DESIGN
TEAM B - CORPORATE IDENTITY B.1. New logo B.2. New color B.3. New web
IED is a 100% Made in Italy international network operating in the fields of education and research in Italy, Spain and Brazil. IED Design, IED Fashion, IED Visual Arts and IED Communicationare the four departments present in each IED location, united by the common denominator of design culture. IED Educational Offer is made of Official Undergraduate courses, IED Diploma courses, Master courses, Academic Year and Semester courses, Summer/ Winter courses, Specialization courses. IED teaching methods require that the departments forge strong bonds with the local industry; interface with their benchmark sectors, interact with each other and evolve accordingly. For these reasons, rather than just keeping in step with their times, the IED training courses are often thriving trend anticipators. IED represents a innovation hub where professionals from a variety of backgrounds come together to provide the input for a cross-fertilisation between areas and disciplines. IED forms a truly unique network of encounters, experiences, people and cultures. The outcome is excellence.
TEAM C - EVENT C.1. New opportunity C.2. New connection C.3. New city life TASKS FOR PARTICIPANTS IN FRAME OF THE WORKSHOP: • Self visiting the location of the museum • Finding the architecture and fashion magazines for moodboards and collages to work on with them during the workshop • Visiting the lecture of Giovanni Ottonello on October 13, 2016 • Portfolio review after the lecture of Giovanni Ottonello
WORKSHOP SCHEDULE SEPTEMBER 6, 2016 Launch of the open call. SEPTEMBER 22 or 29, 2016 Tanya Solovey / columnist in department of fashion and jewelry in Vogue Ukraine / giving a lecture about the tendencies of garments and fabrics exposure in museums around the world. Location: CANactions, 16 Lavrska Str. OCTOBER 3, 2016 Deadline to apply for the workshop. OCTOBER 4-5, 2016 Evaluation of applications by organizers of the workshop. OCTOBER 6, 2016 Announcing the list of participants / sending working materials to participants. OCTOBER 8, 2016 Confirmation deadline. OCTOBER 7-14, 2016 Self visiting by the participants of the location of the museum. OCTOBER 13, 2016 / 19:00 “Causality does not exist! Looking at images from a different point of view: fashion, design, architecture and communication.” Lecture of Giovanni Otonello in English or Italian / interpreter to Russian in case of Italian: Olga Myelkova. Portfolio review after the lecture. Location: CANactions, 16 Lavrska Str. OCTOBER 15, 2016 WORKSHOP DAY Location: IVAN Honchar Museum, 19 Lavrska Str. Outline of the workshop day: 9:45 - Meeting in the yard of the museum. 10:00 - 11:00 - Visiting the location, working on the location. 11:00 - 13:00 - Working time 13:00 - 14:00 - Lunch break 14:00 - 16:00 - Working and result presentation OCTOBER 18, 2016 / 19:00 Public presentation of the results of the workshop. Location: CANactions, 16 Lavrska Str.
ABOUT MUSEUM MUSEUM’S MISSION The mission of the National Center for Folk Culture «Ivan Honchar Museum» is to be the advanced modern institution for the study, conservation, interpretation and presentation of traditional cultural values and cultural identity of Ukraine.
THE MUSEUM CENTER’S AIM - to strengthen the cultural roots of Ukrainian communities, to cultivate traditional spiritual priorities; - to stimulate artistic creativity, innovativeness; - to ensure the constant development and succession of the best cultural traditions; - to promote interethnic understanding and international cooperation among people and states; - effectively to serve the public by arranging of museum exhibitions, scientific forums, festivals, by providing cultural, art, research, training and educational programs to the different communities, students, researchers and scientists, artists and craftsmen, tourists and to the widest circle of the multicultural audience.
CONTEXT The right bank of the Dnipro River, where the project area – Ivan Honchar Museum - is located, is an old historical part of the city - Pechersk. Its name comes from the caves of Kiev Pechersk Lavra (founded in 1051) existing since ancient times. The settlement began to emerge in the 12th century as the Pechersk Lavra settlement and check around on the former village Berestovo. In 16-17th century, Pechersk was a town. Now it’s a district in Kyiv where most of the government buildings are located together with one of the oldest monasteries in the city - Kiev Pechersk Lavra - and one of the hugest green zones too - Kraika together with Second World War Landscape Museum Complex. In 17th-18th it was a military district due to its high location (on the hills) in the city. So the militaries intelligence started to settle here as well as supportive military buildings (such as Mystetsky Arsenal which is a former weapon Arsenal). The surroundings area is very diverse - starting from old buildings of 18-19 century and finishing the Soviet Union post-modernism era buildings - such as Second World War Museum and Salut Hotel.
MUSEUM’S LOCATION Ivan Honchar Museum is paced in walking distance from transportation node (Arsenalna metro station or bus stops). However, the way to the object from transportation node might be confusing and become a challenge for newcomers since navigation is poor in general.
MUSEUM’S EXHIBITION
MUSEUM’S HISTORY
The exhibition is based on the notion that culture, especially traditional folk is integrated, internally caused by the phenomenon of spiritual self of man, self-preservation and ethnicity. Structurally the exhibition is based on the principle of the gradual reading of the culture. The first level is almost on the surface. It’s an objective-sensory perception of the world in aesthetic categories, where the scope of cultural and traditional being of the Ukrainians is presented in a variety of forms, rhythms, plastics and colors, in structural and functional expediency and artistic expression. A further level reaches the depths of the subconscious-intuitive - until the ideas and archetypes, images, symbols and signs. Scientific and methodological principles of the exhibition. It is believed that the museum exhibition is mostly playing the history, the past and the things in it are served only as illustrations of certain historical and cultural events. Ivan Honchar understood the museum in other way. Firstly, he tried to awaken national consciousness of Ukrainians as a factor of self-organization of the people. he considered the traditional folk culture as a form and as a way of life of the people. In his interpretation, the tradition is a determining factor in the formation, crystallization modeling of the distinctive folk culture, creating ethnic ideals, models and guidelines. That’s why, his museum wasn’t only covering the «memory of the past,» «acquisition of historical development» and «legacy of previous generations,» but has set a as distribution center of traditional folk culture of Ukraine, ensuring the continuity of cultural traditions. Ivan Honchar considered people’s life, art, every day traditions, folklore in a complex as a whole being specific manifestations of the people.
The National Center for Folk Culture «Ivan Honchar Museum» is a former Governor’s house in Kyiv Pechersk Fortress. The building of the museum is a monument of architecture of XVIII - XIX centuries. The history of the construction of this building is closely linked with the history of Kyiv and Pechersk. In 1667 after passing the Left-Bank of Ukraine passed to Moscow after the Andrusovo truce between the Russian state and the Polish-Lithuanian Commonwealth. Kyiv became a border city. Enrolling to Kyiv, Russian authorities began to strengthen the fortress walls of the Old City, that had consisted from a number of individual fortresses from at the 2nd half of XVII century. These times Pechersk had several monasteries and ancient settlements around Kyiv Pechersk Lavra, also known as «Pechersk town» in the XVI - XVII century. The population of «Pechersk town» served Lavra, had three parish churches. The neighbored to the future building of the museum parish owned about 100 peasant households at the beginning of the XVIII century. Besides farmers, the inhabitants of «Pechersk town» were also wealthy citizens. «Pechersk town» had its own trading area. Trade gave a significant profit to KyivPechersk Lavra, as the monastery owned the town. Since the end of the XVII century the fortifications were erected in Pechersk by the orders of the Russian government. Two Ukrainian hetmans were building them - Ivan Samoylovich and Ivan Mazepa. In 1706 during the Russo-Swedish War Tsar Peter I founded еру bastion type fortress with ramparts, moats and other fortifications in Pechersk. Kiev-Pechersk Lavra, Voznesensk monastery and «Pechersk town» appeared inside the fortress. The houses of town (about a thousand households) were demolished and their residents resettled outside the fortress to a new settlement taht are now forming the nearby modern streets -Moskovska, Riznytska, Rybalska. By the description of Kyiv of 1775 the Governor’s house in Kyiv Pechersk Fortress already existed. By the researches of the Kiev fortress the Governor’s house has repeatedly changed its architectural appearance and functionality during its existence. The memorial board no.866 on the facade of the museum states that it is the former «Office of the GovernorGeneral», however, a number of reference states that it’s the «Governor’s (Governor General) house». There are also some differences in the dating of the construction of this building. The memorial board dated the year 1780. The same date appears in most guides. But this is not the only version. There is also the date of «the middles of 50 years of the 18th century». It seems more appropriate, cause the facts show that the estate was built in the period from 1757 till 1762. It’s prooved by the archieve papers on building estimates. The architect of the building was Semen A. Karin. The exterior of the house and the estate, built by Semen Karin, has undergone significant changes till our times. At the time of construction it was a fairly typical estate, particularly prevalent in the suburbs of Moscow in the 1780s. It consisted of a central two-storey building, two outbuildings and a fence with a gate. The main house, built in the baroque style, had two facades (front and rear), high triangular pediment over
Stock collection museum • painting sector • fabric and garment sector • ceramics and glass sector • wood and other materials • Ivan Honchar artistic heritage sector • Ivan Honchar personal library and rare books fund archive fund
the entrance and side tabs. The ground basement floor was once lined with brick and reached our times without significant changes. The second floor of the building was made of wood with a high roof, probably covered with wood shingle. Rear facade looked like a two-story loggia with arches on four brick pillars. The estate had two stone outbuildings and the entrance gates. The history has preserved for us the information about the building’s interiors as well. According to the description of the building in 1776 - 1779 the upper floor planning was enfilade. The right wing of the building had 7 rooms, the left wing had 6. The rooms in the right wing, where the bedrooms were situated, were covered with wallpapers or whitewashed with chalk, had wooden ceilings lined with tissue. The building has stove heating systems, some stoves were «Dutch», decorated with tiles. The right wing of the lower ground floor was occupied with household rooms and kitchen. The left wing was occupied with warehouses. The floor and ceiling of the ground floor were from brick. The ceiling was from vaults. In the outbuildings of the estate the security and stuff were living. The «Clover court» was outside the estate. The Governor garden with wooden houses for holiday were outside the fortress. In 1782 the estate had suffered the fire. The had left only the brick basement floor of the building, the brick outbuildings and the destroyed fences. The reconstruction of the building was carried during 1806 - 1809. The appearance of the house came close to modern in the early nineteenth century, after the reconstruction. The first floor was constructed from bricks, under a tin roof. Instead of the north outbuilding, perpendicularly to the house, the two storey brick building was adjusted, which is now the part of the administration and science department of the museum. At the same time, the fence was restored the fence and the new brick arched gate with pedestrian walkways was installed. The stairs on the front facade were eliminated, entrance to the ground floor was constructed instead. The rear facade also gained a modern look. New facades were decorated in a classic style. Not only the house was changing itself with time, but the Kyiv Pechersk Fortress too, which area in the nineteenth century increased with the constructing of new fortifications in 1831 - 1861. Beside this, the administrative changes occurred on the territory of the Russian Ukraine. These factors have influenced that the estate and its central building has been used for different purposes and different departments for a long time. It is known that during the period from 1700 till 1917 Kyiv had 85 governors. Some were simply called governors or governors-general even before the 1708, when the Kyiv province was firstly established. In addition, at certain periods in Kyiv there were positions of military and civil governor (Governor-General). Their functions were instantly changing. One should not absolutize the title of «general-governor’s house». From 1776 to 1779 the estate was not exploited and had been abandoned. In 1779 the temporarily field pharmacy was placed. In 1806 - 1809 the building was reconstructed again. During the Soviet period the building was used as a warehouse, and from the mid-twentieth century as a hostel of the Kyiv military district. In addition to reconstruction in the early nineteenth century, there were also the reconstructions in 1880s and 1920s. In the second half of the twentieth century the building again underwent internal restructuring, in particular, the new floor was done, new staircase was adjusted, the south side garage was built. Then the south outbuilding was demolished and next to the estate the five-storey residential building was built. In 1979 the central house of the estate was declared an architectural monument of national importance, for the further use as a
cultural institution. The emergence of the state Ivan Honchar Museum. Ivan Honchar (01.27.1911 - 18.06.1993) is the prominent public and cultural figure, sculptor, painter, graphic artist, folk scientist, collector, Honored Artist of the USSR (1960), winner of the State Prize. Shevchenko (1989), People’s Artist of Ukraine (1990), one of the founders of the Ukrainian Society of Historical and Cultural Monuments and the Museum of Folk Architecture and Life of Ukraine. In the first quarter of the nineteenth century the so-called ethnographic museum science is tarting to appear and to register the most complete different manifestations of traditional household culture of the people. These times contemporary ethnographic museums and collections were created at the initiative of educational institutions, scientific societies and individual researchers. With their efforts first ethnographic expeditions have been made and development of scientific tools to collect ethnology attractions have begun. From the middle of the nineteenth century the specialized museums were launched. Gradually, ethnographic museums expand their functions, assuming the character of scientific, cultural and educational institutions. The private collectors also played an important role in the formation of the ethnographic collection fund this period. It contributed to the detection and collection of attractions which eventually swell the funds of museums. In these difficult conditions the leading figures of Ukrainian culture and science, benefactors and collectors had collected the unique collection of «Little Russian» art. The reign of Peter I and World War II have caused the irreparable damage to the Ukrainian cultural heritage. As it is known, under the communist regime the folk art has immediately disappeared from museum exhibitions as «antiSoviet» phenomenon that has hindered the implementation of the policy of «nations merge into a single historical community» that would ensure the existence of indivisible renewed empire. So folk art masterpieces were outlawed and - at best - kept somewhere deep in the museum fund storage, but mostly just destroyed - when deliberately and when thoughtlessly. In extreme ideological expositions the Soviet socialist realism has reigned. In the mid-60s of the XXth century there were about 130 museums in Ukraine, but none of them could present the Ukrainian folk culture objectively and completely. These times contemporary exhibitions were ideological and Ukrainian folk art were given to the mercy of Soviet socialist realism. The state museum ignored a number of phenomenal components of Ukrainian art, including popular and folk icon painting, which led to the emergence of «white spots» in the field of folk art. However, in the twentieth century there were ascetics who picked up the revival and development of native culture. One of them is Ivan M. Honchar. He by himself wasn’t divided his activities to research or collecting, cultural, educational or propagandic. It aimed primarily to comprehensive recording, research, rehabilitation and promotion of Ukrainian traditional environment of XVII-XX centuries. He, by his own resources and efforts, created a public museum based on his private collection of folk antiquities, aiming to establish an informal cultural and artistic center of Ukrainian life, the main objective of which was to search, preserve and display the authentic works of Ukrainian folk art combined with his own artistic creativity for the awakening of national consciousness of the Ukrainians. The work of Ivan Honchar successfully combined theory and practice: from the field and collecting work to the understanding of the essential principles and values of the global Ukrainian folk culture. Ignoring the lowcost ideological Socialist Realism in professional and in so
called folk «stamped art» and opposing the policies of the state museums of that times that favored only «Soviet Art», ignoring the image-intuitive, mythical, poetical and naive romantic background of Ukrainian Folk Art, Ivan Honchar was searching and turning back to the life the highly artistic works in his Museum. He deliberately cultivated an authentic folk art, original, revealing the ideological principles of the visual thinking of the Ukrainians. For more than three decades he by his own collected works to his collections, exhibited them, interpreted them, applied them to their traditional functional environment, stressing that all these things would have been destroyed if they wouldn’t appear in his museum and wouldn’t find their full existence there. Creating a collection of housework was not spontaneous, but artisticly and scientifically justified. Thus, his longstanding productive activity has laid the foundation for the formation of a qualitatively new institution - Ukrainian Folk Culture Center, where the national tradition - the key to the viability and continued existence of the ethnic group in space and time - could be developed in complex, according to modern scientific methodology, artistic and creative approach. In the early 1990s, when Ukraine gained independence and Ivan Honchar gained his deserved recognition of his artistic, scientific and educational activities, the general public has raised the question of the establishment of the state museum. In July 1993, the Ivan Honchar has gone away. However, his dream of a separate representative museum of popular culture began to be implemented in practice. In 1993 the museum was established.
MUSEUM’S TODAY CONDITIONS Now museum is ruled by and maintained by the son of Ivan Honchar - Petro Honchar. The Museum applies to cultural roots of Ukrainian communities and cultivates traditional spiritual priorities; ensures the constant development and succession of the best cultural traditions; arranges exhibitions, scientific forums, festivals, provides cultural, art, research, training and educational programs; holds the cultural programs for children (traditional singing and crafts) . The main problems of the Museum:. • incompatibility the architecture of the building and the exhibits that have existed in another cultural environment; • the exhibits are singled out from their natural existence; • the limited exhibition area should serve not only for demonstration and storage of museum treasures, but also for cultural events; • inadequate temperature and other conditions to preserve the quality of exhibits; • the museum has 20 000 exhibits, including 700 on display for visitors, which is only 4%.
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