第六章 結論與建議
2.5. 華沙海報博物館
Questionnaire for
A Study on Design Museums’ Cultural Values
Survey received by March 20th, 2014 from Poster museum Description of the questionnaire:
Design involves activities of both aesthetical and commercial values, and the key focus of this study is how to position and develop the cultural discourse for design museums in the contemporary society and also throughout its cultural developmental process. This study’s investigation on design museums makes reference to J. Holden’s concept for cultural values, with the following three cultural value components proposed by Holden: 1. culture experience, 2. culture practice, and 3. culture identity. This questionnaire will look at design museums’ core business (collection research), and also by looking into possible innovative added values, the questions included in this questionnaire are intended to investigate from the center extending out in accordance with the following aspects and are intended to help with observing design museums’ cultural values: 1.
museum’s position and collection research; 2. design-based exhibitions; 3. design education and service; 4. business strategies and policies; 5. local design culture development. Subsequently, the collected data will be analyzed and used to develop frameworks or theories for the construction of design museums’ cultural values.
1. Regarding the Museum’s Position and Collection Research
No. Question Culture 1 Please describe the museum’s position and mission
statement
The Poster Museum at Wilanów works on the basis of the Regulations, which are not a Museum’s Statute.
2 Following the previous question, under this mission statement, amongst the three components of culture
experience, culture identity, and culture practice, which one does the museum place most emphasis on? Please check the appropriate box to the right.
□ □
3 Please further explain in the last 3-5 years, what strategies have the museum employ to achieve the aforementioned mission?
The Museum is going to document the whole visual culture sphere in Poland by expanding the scope of the collection, not only the posters but other examples of graphic art.
4 Please explain the allotment for the museum’s current collections based on quantities and genres.
The Poster Museum collection includes the representative
set of Polish poster art from the 20
thcentury and the
selective set of foreign posters from the 2
ndhalf of 20
th, that
regarding the social life field in many aspects.
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5 Following the previous question, what type of design works is the key focus for the museum’s design collection?
Poster generally.
6 Which component to the right does the museum place most emphasis on for your collected design works? Please check the appropriate box to the right.
□
7 Following the previous question, please explain the correlation between the museum’s design collection works and its design exhibition strategy.
Both ranges are complementary. However, the exhibitions have the historical character showing some periods, phenomenon etc.
2. Regarding Design-Based Exhibitions
No. Question Culture 1 Please explain the museum’s overall exhibition planning
strategy and exhibition focus.
2 Please explain the museum’s curatorial and operational strategies for design theme exhibitions.
The curator’s projects should concern the whole range of visual culture aspects, called iconosphere. However, the exhibitions are not the imitation of the iconosphere.
3 Following the previous question, is there a permanent exhibition for design collection in the museum? Are there any special considerations for the connection between the permanent exhibition and other special design theme exhibitions?
Because of the conservation reasons the permanent exhibition is impossible.
4 Following the previous question, how do you organize a design theme exhibition and how are the schedules for different design exhibitions in a year? Is there a set ratio implemented among various design works or categories?
In two years prospect planning we take into the
consideration the proportions of every exhibition based on the objects not only from our collection (75%) but also from other institutions (25%). The exhibitions include all
categories or monographic selection.
5 Amongst the three components of culture experience, culture identity, and culture practice, which one does the museum place most emphasis on for curating design theme
exhibitions? Please check the appropriate box to the right.
□ □
6 Following the previous question, please describe in further details any successful cases.
The Polish Poster Showroom takes place every 2 years and gives an overview on graphic design in Poland. It gives a unique base for significant conclusions and evaluations.
3. Regarding Design Education and Service
No. Question Culture 1 Please explain the museum’s educational promotion
strategy and actual executions.
Educational promotion is carried out by exhibitions and museum’s publications.
2 Please give some examples of the museum’s most innovative educational promotional activities from the previous 5 years (1-2 examples for activities such as exhibition educational, community-based, or public relation educational events). How are these differentiated from other museums’ events?
The Museum does not have any separate educational exhibitions. Occasionally we organize some workshops related to the current exhibitions.
3 Following the previous question, which component to the right is most emphasized on for the aforementioned examples of activities?
□ □
4 Please explain the museum’s concept behind its overall operation based on the museum’s architecture and spatial design? Are they included in your innovative operational strategy?
The Museum’s aspiration is to create the most complete collection of Polish posters. We would like to show it in different configurations with every single attempt to read it again.
5 Please explain with examples how the museum applies contemporary technologies to its service system.
All exhibitions are organized in traditional way without using the contemporary technologies.
4. Regarding Business Strategies and Measures
No. Question Culture 1 Please explain the museum’s main source of funding; is it
acquired from the government, or from private funding through self-fundraising? What are the key sources for self-raised funding?
The Poster Museum at Wilanów is the division of the
National Museum in Warsaw. The budget comes from The
Ministry of Culture and National Heritage.
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2 Please explain the position and the operational strategy for the museum’s gift shop.
Generally the gift shop sells the Poster Museum’s publications and posters to its own exhibitions, enriched by foreign publications.
3 Following the previous question, what differentiates this shop’s operational strategy from the shops of other potential competitor museums?
No data.
4 Following the previous question, are any of the components to the right taken into consideration for the operational strategy of the museum’s gift shop?
Yes □ (If yes, please check the appropriate box to the right)
No
□ □ □
5 Is the museum involved in the commercial development for products of added values inspired by its own collected works?
Yes □ (Please give examples)
No
5. Regarding the Development of Local Design Cultures
No. Question Culture 1 Is the museum involved in the research of local design
cultures or design resources?
Yes □ (Please give examples)
No
2 Following the previous question, has the museum ever been engaged in discourses for local design cultures?
How are these discourses presented to the audience?
(i.e.: exhibition, publication, or educational events?)
No
3 Following the previous question, which component to the right is the key consideration for conducting discourses related to the local design cultures?
□ □
4 In regards to the utilization or collaboration with external resources, how are the design resources used for
promotion? Could you give some actual cases or measures that were undertaken?
Poster Museum at Wilanów intends to collaborate with creative associations or artists federations for expand the boundaries of knowledge about contemporary visual culture. In result we are going to explore whole range of visual culture aspects, not only the posters.
Our aim is to reconstruct the aforementioned sphere of 2
ndhalf of 20
thcentury.
Thank you for your time and kind assistance.
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