STANISŁAW WYSPIAŃSKI MUSEUM

DESCRIPTION OF THE SUBJECT-MATTER OF THE COMPETITION, DESCRIPTION

OF THE SITE OF THE INVESTMENT PROJECT,

AND FUNCTIONAL AND UTILITY ASSUMPTIONS AND GUIDELINES

Developed by a team directed by

Łukasz Gaweł

Team members:

Andrzej Betlej, Magdalena Czubińska, Marta Graczyńska, Daniel Hankus, Magdalena Jabłońska,

Grzegorz Jakóbik, Piotr Krzaczyński, Magdalena Laskowska, Robert Litwiniuk, Grażyna Malik, Joanna

Niewidok, Paweł Orkisz, Grzegorz Ostrowski, Iwona Parzyńska, Andrzej Rajch, Filip Skowron, Anna

Walczyk, Marta Winiarczyk, Justyna Zapała-Więch and Beata Zelek

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Table of contents

Introduction ............................................................................................................................................. 4

1. Museum Quarter – functional assumptions ................................................................................... 4

2. Previous concepts of operation of the Stanisław Wyspiański Museum ......................................... 6

3. Site, surrounding area and footpaths connecting the Stanisław Wyspiański Museum with the

surrounding area ..................................................................................................................................... 7

4. Organisational and programme assumptions for the National Museum in Krakow .................... 10

4.1 Mission of the National Museum in Krakow ................................................................................. 12

4.2. Scope of activities of the National Museum in Krakow ................................................................ 12

4.3. Characteristics of the collection ............................................................................................. 13

4.4. Target audience of the National Museum in Krakow .............................................................. 14

5. Stanisław Wyspiański Museum ..................................................................................................... 15

5.1. General assumptions ................................................................................................................... 15

5.2. Stanisław Wyspiański Museum – the concept.............................................................................. 15

5.3. Anticipated museum attendance ......................................................................................... 17

5.4. Key assumptions for protection of the collection ............................................................... 18

5.5. Functional spaces .................................................................................................................. 19

5.5.1. Entrance lobby – visitor service area ............................................................................... 19

5.5.2. Main part – the exhibition ................................................................................................ 21

5.5.3. Education space ................................................................................................................ 23

5.5.4. Underground part of the development project ............................................................... 25

5.5.4.1. Impact of designed building on existing green spaces ..................................................... 25

5.5.4.2 Functions envisaged in the underground section ............................................................. 25

5.5.5. Rooftop space ................................................................................................................... 26

5.5.6. Functional relations between the Wyspiański Museum and the Main Building............ 27

5.5.7. Facilities for persons with disabilities .............................................................................. 28

5.5.8. Surroundings of the Museum ........................................................................................... 29

5.5.9. Transportation of museum objects .................................................................................. 30

5.5.10. List of areas within Stanisław Wyspiański Museum ........................................................ 30

6. Technical guidelines ...................................................................................................................... 35

6.1. Building’s structure .................................................................................................................... 35

6.2. Energy efficiency ........................................................................................................................ 35

6.3. Security systems ................................................................................................................... 37

6.4. Fire protection ...................................................................................................................... 39

6.5. Climate and air pollution control ......................................................................................... 41

6.6. Multimedia system ............................................................................................................... 44

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6.7. IT system ............................................................................................................................... 46

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Introduction

The Stanisław Wyspiański Museum (MW) presented in this document is meant to be

a part of a greater whole, namely Krakow’s new Museum Quarter. Ultimately, it shall be

comprised of five components:

1) The Main Building of the National Museum in Krakow.

2) The Independence Bid Museum in Oleandry Street.

3) The Stanisław Wyspiański Museum.

4) The former Cracovia hotel with the object warehousing and conservation centre.

5) The space connecting all above buildings.

In view of the above, the document presented below is to be treated as a module of

a greater whole. Meanwhile, it shall be stressed that all activities (conceptual and,

consequently, design) must take into consideration the general functional and utility

assumptions for the entire Quarter.

The designed building is to become a modern narrative biographical museum

presenting the person, artistic work and heritage of Stanisław Wyspiański within a broad

context of his times against the background of the European and international art. Its

functions are to extend far beyond that of a gallery of works of an outstanding artist. The new

museum shall operate as an education and knowledge centre permitting the general public to

make full use of the works and heritage of Stanisław Wyspiański. The museum of Stanisław

Wyspiański, a prominent representative of the Polish modernism, shall demonstrate the

versatile and universal modern and European character of his work where fine arts, literature,

theatre, and even architecture and monument conservation, interact.

1. Museum Quarter – functional assumptions

The emerging museum quarter follows the trend adopted by multiple European cities

that tend to concentrate their museums within a single area that acquires a completely new

sense in the social dimension. The erection of the Stanisław Wyspiański Museum right next to

the Main Building shall amount to a major architectural intervention ultimately giving a spatial

dimension to Krakow’s new museum quarter. When designing the new building,

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interdependencies between the individual buildings, communication between them as well as

complementarity of functions should, therefore, be considered. For instance, MW shall have

no warehousing space and its needs in that respect shall be satisfied by the conservation and

warehousing centre created behind the building of the former Cracovia hotel.

The described quarter is divided spatially into two distinct parts: The Main Building shall be

accompanied by MW and the Independence Bid Museum, the planned branch of the National

Museum in Krakow located in the Józef Piłsudski House in Oleandry Street.

MNK’s Main Building shall continue to house the central functions. The directors’ office

shall be located and the key temporary exhibitions shall be held here. Permanent exhibitions,

among them the planned exhibition dedicated to the history of the Polish culture, shall also

be presented in the Main Building.

The Wyspiański Museum, as described herein, even though granted great autonomy,

shall nonetheless be linked to the Main Building, also in the physical dimension as, ultimately,

an underground connector and an overground corridor are both being designed.

The Independence Bid Museum shall be unique. It is located far enough from the Main

Building not to be visible to the visitors from that perspective. Nonetheless, it shall be MNK’s

branch situated the closest to the Main Building from among the other buildings mentioned

in this chapter. It shall be wholly dedicated to the heritage of the Legions and the bid for

independence leading to Poland regaining its independence. Despite the distance, the

Museum Quarter’s space shall be designed so as to assume the informative function of a kind

directing the visitors to that museum. This part of the Museum shall be most varied in terms

of the audience. According to the attendance analysis from the previous years, all three

abovementioned branches shall be frequently visited by school groups. Furthermore, the

Wyspiański Museum and the Main Building shall attract Polish tourists and foreign visitors.

Permanent exhibitions in the Main Building shall be composed so as to become gates of a kind

to the exhibitions held at two remaining facilities, e.g. exhibition dedicated to the history of

arms and uniforms in the Main Building shall naturally refer visitors to the exhibition in

Oleandry Street.

The refurbished former Cracovia hotel, the building complex on the other side of the

square, shall undoubtedly have a different character. The ultimate development of that site,

the final decision on the gallery and the exhibition to be created there, shall be preceded by

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a demand study, diagnosis of the audience and social consultations. A number of inescapable

elements of that new complex may, however, be identified today already. Commercial

functions shall definitely be located on the ground floor from Foch Avenue, namely

restaurants and bars as well as retail shops. It is assumed that museum galleries would operate

here, with the original concept envisaging an exhibition dedicated to architecture and design

and, possibly, also old photography or comic books. The administrative facilities of the

National Museum in Krakow are also to be housed here. The ultimate space simulation shall

provide information whether or not commercial lease of the top floor of the building is

possible, e.g. a café (with a rooftop café space on the building’s roof).

Behind the existing Cracovia hotel building, above the former casino and the

restaurant’s back facilities, a new building is to be built housing a modern object warehousing

and conservation centre, including, but not limited to, artwork warehouses, including study

warehouses, conservation studios or a digitalisation room.

Creation of the space in-between all mentioned buildings is another issue to be

addressed. This is all the more difficult given that it does not belong to the Museum but is

primarily owned by the city. Thus, certain general proposals relating to that space may only

be formulated. The list below reflects the expectations communicated by the attendees of the

participative workshops held at the National Museum in Krakow on the subject – the space

in-between all mentioned buildings shall:

1) feature as much greenery as possible;

2) feature minimum road traffic;

3) be a lively place (organisation of events); and

4) designed, first of all, to meet the needs of the city’s residents.

2. Previous concepts of operation of the Stanisław Wyspiański

Museum

Creation of a biographical museum in Krakow dedicated to Stanisław Wyspiański has

been discussed for many years. In the past, such Museum operated as a branch of the National

Museum, first in Kanonicza Street (from 1983 to 2002) and, thereafter, in Szołayski House in

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Szczepański Square (from 2004 to 2012). Those are not modern buildings that meet the

demands of contemporary museology. Therefore, new concepts for creation of an adequate

space presenting the work and heritage of Stanisław Wyspiański were developed. Without

doubt, the concept proposed by Professor Mieczysław Porębski is one of the most interesting.

The concept authored by Marta Romanowska is also noteworthy. Overall, those assumptions

may be revisited and updated to meet the demands of modern museum facilities. The new

MW shall be the space presenting the artist’s entire output accumulated in the largest

collection of his works, dedicated to specific works to enable presentation of monumental art,

ensuring the greatest ever availability of Wyspiański’s art, promoting Wyspiański’s work by

means of modern forms of presentation and interpretation, and holding temporary

exhibitions dedicated to the art of Wyspiański, his friends, artists influenced by Wyspiański,

contemporary theatre performances of the artist’s dramas etc.

3. Site, surrounding area and footpaths connecting the Stanisław

Wyspiański Museum with the surrounding area

According to the adopted assumption, the MW project is to be developed in the

immediate vicinity of the Main Building of the National Museum in Krakow (MNK). The main

MNK complex is located in the western part of Krakow’s city centre, bordering in the east on

the main thoroughfare running through this section of the city, Aleja Trzech Wieszczów

Avenue. It occupies plots nos. 191/2, 191/4 and 207/5. In the north, the Museum borders on

the grounds of the Jagiellonian Library, in the west - on those of Zaczek students’ home,

whereas in the south a square spreads connecting the museum complex to the area of the

former Cracovia hotel, divided by the tram tracks, Aleja Focha Avenue and footpaths. The new

facility, the Stanisław Wyspiański Museum, shall be located on the west side of the Main

Building, on the plot bordering on the grounds of Zaczek students’ home.

The investment project planned at the designated site is strongly embedded in the

history of Krakow and that part of the city. When in 1910, the city’s area increased sevenfold

as a result of its merger with the adjacent villages, the idea of creation of the so-called Great

Krakow was born. An urban planning competition was then held by the municipal authorities

aimed at working out a concept for the development of the land previously occupied by the

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infrastructure of Krakow fortress. It was then that the concept for creation of an exclusive

boulevard and a representative square along the city’s north-south axis came to the fore. The

new development would fit perfectly with those concepts, the Stanisław Wyspiański Museum

becoming an integral element of the frontage of the square spreading between the Main

Building and the former Cracovia hotel.

The plan for that part of the city is dominated by the Old Town with the Main Square,

surrounded by the Planty green belt established at the site of ancient municipal fortifications

(a section of the city’s walls with the impressive St. Florian’s Gate and the Barbican

spearheaded towards the Kleparz District being their remnants). In the immediate vicinity of

MNK, the dominant role is assumed by the previously mentioned Aleje Trzech Wieszczów

Avenue along which imposing edifices, some sunk in greenery, have been erected.

The existing MNK Main Building fits in with the local buildings – the Jagiellonian Library

is found in MNK’s immediate neighbourhood with the Silesian Seminar building located on the

other side of Aleje Trzech Wieszczów. The plot, on which the Museum’s Main Building was

built, is relatively small and does not feature cultivated greenery. It is predominantly occupied

by roads and footpaths, a car park and a complex of utility and technical buildings. When

designing a building suitable to fit that plot, it should be kept in mind, however, that the

general public may perceive the plot by the Museum as green space, especially given that it

borders on the garden arranged next to Zaczek students’ home. This is all the more important

that the modernist mass of the Main Building deprived of the composed green spaces and

preceded by the expanse of the square covered with stone tiles makes an impression of being

monumental and inaccessible, which conflicts with the image of the Museum we wish to

promote (an open and welcoming place). The Main Building of the National Museum in

Krakow is definitely one of the dominant public utility edifices in that part of Krakow, next to,

inter alia, the Jagiellonian Library and the AGH University of Science and Technology.

It is assumed that, following the construction of Stanisław Wyspiański Museum, the

existing communication system shall be kept. Vehicles shall enter the premises of the museum

complex from Oleandry Street via Kadrówki Street. Visitors, similarly to guests arriving by car

at the Main Building, shall use the ‘Under the Museum’ underground car park. It shall be

considered whether or not a stop (not a parking space) is to be envisaged for the coaches

bringing in groups of visitors behind the newly built facility. The designer is expected to

propose a conceptual solution to this issue. It may well be that the place for disembarking

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from coaches is to be envisaged at another location. A minimum of two parking spaces for

persons with disabilities, their placement offering the users the greatest comfort possible,

must also be designed. A bicycle parking zone shall also be designed.

The currently described area of the museum is characterised by the following

parameters of the buildings and their surroundings:

Total area of the Museum’s plots: 11,025.0 sqm

(including plot no. 207/5 – 1,181 sqm, plot no. 191/2 – 8,984 sqm and plot no. 191/4 – 860 sqm)

Developed area:

MNK Main Building: 5,842.2 sqm

Utility and technical buildings: 493.7 sqm

Total developed area: 6,335.9 sqm

The newly designed building of the Stanisław Wyspiański Museum must blend with

the frontage created by the new investment project and comprised of the Main Building of

the National Museum in Krakow, the new building and the Zaczek students’ house. However,

the direct point of reference shall the Main Building with the following dimensions:

Length of the front facade: 63 m.

Length of the side facade: 95.3 m.

Height from the ground level to the ledge (top of the parapet): 23.4 m.

Height from the ground level to the highest element on the roof: 27.9 m.

The investment site is not covered by the local area development plan. Neither has

a decision on conditions of area development or a decision on determination of the site of

a public purpose investment project been issued for it. This situation offers the designer

greater freedom. It shall be kept in mind, however, that approvals must be secured for the

proposed architectural form to allow for its construction. Thus, feasibility of the proposed

solutions is of critical importance. It is the responsibility of the winner of the competition to

secure one of the necessary aforementioned documents prior to the start of the design work.

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4. Organisational and programme assumptions for the National

Museum in Krakow

The Museum is organised by the Minister of Culture and National Heritage. The

Museum is a state cultural institution entered under no. RIK 25/92 in the register of cultural

institutions kept by the Minister.

The National Museum in Krakow is the oldest of the Polish museums bearing the

‘National’ designation. Established in 1879, it was originally a Polish contemporary art

museum and, owing to numerous gifts and acquisitions, was transformed over time into the

largest museum in Poland. Nowadays, the Museum is comprised of 16 buildings, 11 branches

and over 800,000 museum objects. The primary focus of MNK’s collection remains the Polish

art and culture although it also features valuable collections of works of the European and

international art, inter alia, painting, graphics, sculpture, art and decorative art of the Far East,

the ancient art, the Russian orthodox church art, the Judaica, a rich collection of decorative

art artefacts, arms and uniforms as well as numismatics. The unique Princes Czartoryski

Collection, owned by the National Museum in Krakow since 2016, has been granted an

exceptional status.

The Museum’s primary activity is the exhibition activity conducted within the

framework of organisation of both permanent galleries and temporary exhibitions. Exhibitions

intended for large audiences as well as cameral exhibitions of very high academic value are

held. Without doubt, one of the greatest successes of the recent years is the Wyspiański

temporary exhibition visited by over 220,000 persons since its opening in November 2017. It

ranks among the most visited exhibitions in the history of the National Museum in Krakow.

The Museum is engaged in broadly understood popularisation and educational

activities. Those activities consist, inter alia, in arranging museum classes, holding activities

and workshops for children, adults and young people, delivering training courses, and

organising activity classes for special audiences (e.g. persons with special needs and senior

citizens), curator-guided tours and meetings with museum keepers. Concerts and theatre

performances are also held at the Museum. MNK regularly participates in various types of

initiatives (Night of Museums, Week End at Half Price, Krakow Museums Open Doors Day, and

Krakow street festivities). Branches with gardens (such as the Mehoffer House, the Emeryk

Hutten-Czapski Museum and the Józef Czapski Pavilion) are involved in the municipal

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campaigns making the city’s green spaces available to the general public for various types of

activities such as, for instance, the Garden Feast Festival. An outdoor summer cinema has

been organised in front of the Jozef Czapski Pavilion for 3 years now. All those initiative

contributed to a distinct increase in the activity of the National Museum within various fields

after 2016. They are aimed not merely at boosting visitor numbers and identifying additional

reasons for visiting the Museum but are primarily meant to build a community around the

institution, a community of persons interested in the Museum’s activity across different fields

and, at the same time, its development and promotion of new forms of activity.

An important dimension of the new forms of the Museum’s activity has become its

broader opening to co-operation with the social environment, invitation of Krakow’s residents

to join the discussion on the future of the National Museum in Krakow. In 2017, a cycle of

participative workshops was conducted dedicated to the concept of alteration of the

Museum’s Main Building, the former Cracovia hotel and the square between them. The

workshops were conducted in co-operation with the Krakow Municipality’s Municipal

Dialogue Centre. The first meeting served as an open inaugural debate whereas the four

ensuing meetings were consultative meetings conducted using the expert method. Each of

the meetings was devoted to another theme:

28 March 2017 – MNK’s new seat - A new space for the city’s residents. Opportunities,

expectations and hopes – a debate inaugurating the participative process.

25 April 2017 – MNK’s Main Building – A new space, new functions and new exhibitions.

16 May 2017 – Cracovia hotel – MNK’s new seat. Opportunities, expectations and hopes.

6 June 2017 – MNK’s Main Building: We want a modern museum! What does modern mean?

20 June 2017 – Forum of Culture – A new public space between MNK Main Building and the

Cracovia hotel building.

The workshops were attended by Krakow’s residents, including also experts from

various fields, namely architects, urban planners and practising artists. Their involvement in

the discussion, creativity, experience and references to the various European and

international examples helped MNK gather invaluable feedback on the future of this part of

the city of Krakow.

The social environment was also involved in the focus interviews conducted in order

to work out the concept of alteration of the Mehoffer House, a branch of MNK.

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MNK’s exhibition policy and the accompanying initiatives have contributed to the

aggregate annual visitor numbers at the National Museum in Krakow exceeding 1,000,000.

The aggregate attendance over consecutive years was as follows:

2016 – 770,714 visits

2017 – 1,278,210 visits

2018 – 1,147,140 visits

A significant increase in attendance is also reported in the Main Building. It is

correlated with a temporary display of Leonardo da Vinci’s Lady with an Ermine and the

Wyspiański temporary exhibition. Interestingly, the average daily attendance is higher for the

exhibition of the works of Stanisław Wyspiański, which attests to great interest in the life and

work of this outstanding artist and his influence upon the artists active after 1907 in the field

of visual, performing and film arts and in the area of design.

4.1 Mission of the National Museum in Krakow

Our Museum is a space for dialogue conducted with respect for different thoughts

and ideas. Through encounters with art, research into and care over the unique

collection, we wish to inspire people to experience the diversity of natural

heritage. We want to create a friendly, safe and open place. We believe that, by

doing so, we make the world a better place.

4.2. Scope of activities of the National Museum in Krakow

The Museum’s activity concentrates around the tasks defined in the Museums Act of

21 November 1996. The Museum accomplishes its tasks by:

1. collecting objects, monuments and documenting materials within the scope of its activity,

acquired through purchases, gifts, legacies, donations and deposits;

2. taking stock, cataloguing and preparing a scholarly documentation of collected objects;

3. storing collected objects in the conditions ensuring their safety and availability for

scholarly purposes;

4. securing and conserving objects;

5. organising permanent and temporary exhibitions in Poland and abroad;

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6. conducting scholarly research and making efforts to popularise its findings in the field of

arts, humanities, history of museums and art conservation and supporting preservation of

national heritage;

7. publishing catalogues, exhibition guides, popular science publications, books for children

and young people, scholarly monographs as well as findings of scholarly research;

8. conducting educational activities;

9. lending for use and accepting in deposit collections within the scope and according to the

procedures compliant with the applicable laws and regulations;

10. preparing expert and standard opinions as well as responding to queries relating to its

activities; and

11. operating a specialist library, a scholarly library and the archive.

4.3. Characteristics of the collection

The Museum’s collection includes objects of art, decorative art, archives and book

collections, specifically:

1. archaeological artefacts, painting, sculpture and decorative art constituting the

heritage of the Polish–Lithuanian Commonwealth and the European heritage;

2. arms and uniforms;

3. historic manuscripts and prints;

4. numismatics;

5. sigillography;

6. manuscripts and autographs;

7. drawings, ancient and contemporary graphics;

8. art and decorative art of the Far East;

9. mementos of famous Poles, e.g. Karol Szymanowski, and specifically Jan Matejko and

his disciples, Jozef Mehoffer and Stanisław Wyspiański; and

10. works of more recent art (20th and 21st centuries), also utility art and monuments of

material culture.

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4.4. Target audience of the National Museum in Krakow

As a public cultural institution, the National Museum strives to open its doors to all

audiences. This is not an empty declaration or a marketing trick but an authentic will to engage

in a broad and interdisciplinary dialogue, interact with all persons and groups within the

Museum’s social environment, and to expand the offer for the audiences from groups

threatened with social exclusion. It should be remembered that the envisaged Museum would

be visited also by foreigners. This is of particular importance in the context of designing the

new building for the Stanisław Wyspiański Museum. Fulfilment by the new building of the

requirements defined in the applicable laws is not deemed sufficient. The newly designed

facility together with its surroundings shall be a truly welcoming place offering all visitors an

opportunity to spend their free time and striving to satisfy their varying needs. It must give

visitors a possibility to participate in various activities, provoke them into interaction or simply

allow them to relax and spend their free time in comfort.

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5. Stanisław Wyspiański Museum

5.1. General assumptions

The planned investment project envisages erection of the new building of the

Stanisław Wyspiański Museum on the plot adjacent to the Main Building in the west. This

development project is meant to conform to the spatial conditions of the envisaged Museum

Quarter and represent an integral spatial element of the right proportions. It shall enter into

a relationship with the Main Building of the National Museum in Krakow in its immediate

vicinity, facing the former Cracovia hotel, the square in-between them and the Zaczek

Students’ Home to the west. The nearby statue of Stanisław Wyspiański, the work of Marian

Konieczny unveiled in 1982, must also become an important point of reference for the

designer of the new building given its intended purpose. At the same time, the whole

investment project must have the dimension of artistic creation, unique and unequivocally

invoking the work of Stanisław Wyspiański.

5.2. Stanisław Wyspiański Museum – the concept

The designed building is to become a modern biographical museum presenting the life

and work of the artist within a broad context of his times against the background of the

European and international art. Its functions are meant to extend far beyond that of a gallery

of works of an outstanding artist. The new museum shall operate as an education and

knowledge centre permitting the general public to make full use of the works and heritage of

Stanisław Wyspiański. The museum is to combine the functions of a modern-day design art

gallery, a narrative museum celebrating the artist’s memory, an interactive workshop space

and the so-called ‘digital cocoon’ (a term employed by Łukasz Gaweł), a state-of-the-art digital

repository of the works of Stanisław Wyspiański, with the history of their reception, criticism

or staged performances within a broad social and cultural context. At the same time, the

museum is to serve as a multi-functional facility with movable equipment permitting

participative delivery of the initiatives proposed by the general public itself. We would strive

to avoid the trap into which many narrative museums have fallen consisting in the organisers

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defining in full the programme and character of the site beforehand and the general public’s

evolving needs not be accounted for subsequently.

The museum of Stanisław Wyspiański, the prominent representative of the Polish

modernism should demonstrate, in the contextual layout, the highly versatile and universal

modern and European character of the work of this incredibly versatile artist in which fine

arts, literature, performing arts and even architecture and monument conservation interact.

The task of the designer would then be to create such exhibition space where image, word

and sound would all contribute to one coherent whole they originally were in the artist’s mind.

The specificity of Stanisław Wyspiański’s work is that it is unaccomplished, with many

works abandoned at the stage of a concept or draft and many works devoid of their cultural

context: the exhibition shall comprise the artist’s works found in MNK’s collection

(Attachment M02). Hence, those are not the works fully describing Wyspiański’s commitment

to a given field of art but they are nonetheless representative even if sometimes Wyspiański’s

preserved heritage appears to be anything but fragmentary. Probably the most telling

example is the work of Wyspiański as a director and a set designer of his own plays. MNK is in

possession of a dozen or so works related to theatre; hence, it is expedient that the

multimedia (recorded performances) are introduced into the space of the exhibition to

complete the image of Wyspiański, a reformer of theatre.

Within the space of the exhibition, in addition to the presentation of the main plot: the

artist’s work bordering on symbolism, secession, neoclassicism or expressionism, it shall also

be essential to expose phantasy and creation, the two categories crucial to Wyspiański.

Perceived and highlighted as characteristic hallmarks of Wyspiański’s artistic activity already

by his contemporaries during his life: ‘the works of spirit, radiation of a feeling intensified to

an almost inhuman degree. Those are deep dramas, lived, felt and suffered in the infinities of

spirit, painful and authentic visions melted into colour and line’ (Eligiusz Niewiadomski on

Wyspiański’s stained glass).

A few insights into the character of a museum dedicated to Wyspiański can be found

in his Hamlet: ‘Architecture, Painting and Drama merged into one and allowing the the

spectators, THE WORLD AND THE SPIRIT OF THE CENTURY to experience THEIR FORM AND

STIGMA with their senses’.

The planned activities shall translate into the creation of a unique museum entering

permanently not only Krakow’s cultural landscape but also serving as a point of reference on

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a nationwide scale. The museum is also envisaged as a medium promoting the heritage of this

outstanding artist among foreigners, both in the real dimension and in the digital reality

(partially accessible online).

5.3. Anticipated museum attendance

The details of average attendance of the temporary Wyspiański exhibition in the Main

Building are crucial in the context of the newly designed museum. Open on 27 November

2017, the temporary exhibition is visited by an average of 496 persons every day (putting the

average monthly attendance at 12,586). The data show explicitly potentially high visitor

numbers anticipated after the opening of the Wyspiański Museum. The design of the new

investment project must foresee heavy traffic along the building’s passageways and in the

visitor service area. It is also necessary to ensure maximum capacity of exhibition rooms.

When estimating visitor numbers during events, attention should be paid to the

scheduled vernissages, concerts, performances, author’s meetings, curator-guided tours and

commercial events. Based on the experiences from the analogical events organised at MNK,

the anticipated visitor numbers are reported at approx. 200 persons (in the entrance lobby at

the same time).

The experience related to the organisation of educational activities in conjunction with

the Wyspiański exhibition point to the great appeal of the organised dedicated classes,

workshops and training courses, with an average of 320 visitors per day based on the

attendance of exhibition-related educational activities to date. The assumption was made that

the average number of participants of educational activities in a single room shall be 35

persons per group (additionally, educators and group supervisors), which suggests that

approx. 110 persons could be staying within the education space at the same time.

Meanwhile, educational activities may be held within the exhibition space for a maximum of

4 more educational groups, i.e. approx. 140 persons. This number is exclusive of the persons

visiting the Museum on their own.

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5.4. Key assumptions for protection of the collection

As a museum, MW must comply with the most rigorous requirements governing

protection of the collection (corresponding to the provisions of statutory laws and regulations

governing physical protection and technical security measures as well as conservation

recommendations). In the case of that collection, this is of particular relevance as the

collection is composed primarily of paper-based works, i.e. particularly sensitive to the

destructive operation of light. To assure the highest possible accessibility of works and their

maximum protection, the structural solutions developed with future exhibitions in mind

already at the stage of preparation of the museum’s architectural design would have to be

applied. It shall be necessary to identify solutions that would ensure convenient exhibiting

conditions for both small-sized pastels and large stained-glass carton templates requiring an

equally rigorous approach to the issue of exposure to light. The newly designed exhibition

space must, to the maximum extent, support conservation prevention while limiting, as far as

possible, the operation of external factors contributing to degradation of paper-based objects.

While the issue of temperature control, relative humidity or elimination of atmospheric

pollution from the exhibition rooms shall be resolved at the stage of design of indoor

installations and systems, the issue of minimisation of the impact of light on the object must

be addressed partially at the stage of designing the building (this is not merely the issue of the

lighting system). For that reason, it is required that the section of the building housing

exhibition rooms be fully deprived of daylight access (blackout). The objects’ exhibition

limitations shall force rotation of their display. In other words, even the most valuable and

known objects from the collection shall not be put on display for the visitors to see all the

time. Hence, there is a need for introducing a rotating exhibition system, preferably

automated to the maximum extent to reduce movements of museum objects.

A system for rotating exhibition of stained glass carton templates shall present a major

challenge. They are very large (the largest ones, two designs of the God the Father Franciscan

stained glass have the following dimensions, respectively: 837 x 348 cm and 877 x 391 cm).

A solution desirable in this respect could be a system similar to the one applied in the stage

curtains in theatres. Again, however, the details of the design and its execution shall represent

a major challenge and everything must be thought over at the stage of the architectural

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design. Use of roller shutters offering a possibility of blacking out the largest objects shall be

considered.

To ensure safety of the collection, the exhibition space may be located exclusively in

the overground section of the building.

5.5. Functional spaces

The assumptions for rigorous protection of the collection described above must be

enforced consistently with the expectations of the visitors who wish their visit to the new

museum to be as comfortable as possible. For that reason, it has been assumed that the MW

building itself shall comprise a number of sections that together would make up a modern

exhibition space that caters for the expectations of a friendly and open museum.

The bulk of the building must be fitted into a polygonal plot. The main entrance to the

new Museum shall lead to the visitor service area located in the architectural form adjusted

to the shape of the plot and forming the frontage facing the square through construction of

a new building.

The prepared documentation must satisfy the requirement of such design of corridors

and stairways inside the building that all main passageways are adapted to safe transportation

of objects and allow for relocation of large (long) objects and free passage of a forklift

(including manoeuvring to change the direction while driving).

The exhibition space must constitute a functional whole that can be closed at the same

time and accessible to visitors during the limited and predefined opening hours. The generally

accessible parts, namely the lobby zone, the education space, the multimedia library, the café,

the transport zones and the rooftop space, must be accessible during the extended opening

hours.

5.5.1. Entrance lobby – visitor service area

The lobby is meant as the representative space of the Stanisław Wyspiański Museum

permitting exercise of various functions, including organisation of vernissages, concerts or

theatre plays consistently with the scope of operation of the Museum. The lobby must give

the impression of a friendly and open space, with every visitor entering the building feeling

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welcome. It must offer multiple seating options to allow visitors to spend their time in

comfortable conditions. Introduction of solutions highlighting the importance of light in

Stanisław Wyspiański’s creative process may be considered as well as the placement of

a noticeable number of large flower pots with plants associated with the artist’s work at

a number of locations within the building. The plants introduced into the Museum’s space

must be deployed with due account taken of the key assumptions relating to observance of

restrictive conservation conditions (plants cannot be introduced into exhibition rooms).

Access to Level ‒1 shall also be assured from the lobby.

The visitor service area, namely the ticket desk, the information desk (visible to every

person entering the Museum), the museum store-bookshop and the café are to be housed in

the lobby. Designing customised furnishings for the place is recommended rather than using

ready-made furniture.

In the immediate vicinity of the entrance zone, a room shall be envisaged for the

monitoring and security systems along with the desk of the Internal Security Service. In the

guardroom, the workstation of the guard operating the technical protection system who is in

charge of direct physical protection, control of movements of people, museum objects and

material means as well as evacuation and delivery of first aid shall be deployed. To avoid the

need for the guard to desert the workstation in the guardroom, the social amenities room and

a restroom shall be designed therein.

It is also necessary to create a comfort zone to allow visitors to spend time in that space

(it must be linked directly to the museum’s café). Comfortable space for breastfeeding

mothers must be designed (the so-called room for a mother with a child equipped with an

armchair, a baby changing table and a bathroom with a toilet).

The museum store must come with a back room. The location shall be chosen that

every visitor must pass on their way out of the Museum (it is more important to locate the

museum store on the way ‘out’ rather than on the way ‘in’).

Given the unique nature of the designed facility and full freedom in creating its

functionalities, adoption of potential solutions differentiating functionalities to a much

greater degree than usually accepted in classic museum institutions is proposed. Introduction

of the following solutions may be considered:

– a possibility to shape functional links, e.g. between the café and the bookshop and the

leisure zone, by designing a flexible space that assumes different functions smoothly;

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– an alternative possibility to expand the leisure zone beyond the building’s indoor area during

the summer period;

– creation of a space adapted to presentation of works of art, namely the works of young

artists; that activity would be extremely important from the point of view of building social

capital and a community around the Museum and rendering the Wyspiański Museum a place

of ‘live art’ (Wyspiański as a creator still inspiring young artists) at the same time;

– such design of space is required that focuses on maximum comfort of the visitors and

significantly exceeds the standards set under the applicable laws and regulations (e.g. the

need for deploying the infrastructure in such manner that the users of the comfort zone and

the café have easy access to plug sockets enabling them to use and charge their mobile devices

or laptops).

5.5.2. Main part – the exhibition

The rooms intended for the permanent exhibition of a minimum area of 2,400 sqm are

to have no daylight access (blackout capabilities) (not applicable to other usable spaces). Due

to rigorous conservation requirements, the exhibition may be located exclusively in the

building’s overground section. It has been assumed that a double-height gallery shall be

created within the permanent exhibition space (for instance, through partial removal of the

ceiling between the floors) in which the Franciscan stained glass would be presented, with the

design of the God the Father stained glass taking the most prominent place. Never before has

any space been created permitting permanent and full exhibition of that project. Spectators

shall be able to view the stained glass from various levels and/or perspectives. The assumption

is made, at the same time, that no permanent space dividers created within the gallery’s area

after the completion of the conceptual work on the exhibition’s scenario shall be introduced

at individual floors apart from that one case (obviously, this does not apply to restrooms,

necessary technical rooms, staircases, other passageways etc.).

According to the general conceptual assumptions for the permanent exhibition, the

high-rising space in which Wyspiański’s monumental art is to be presented, primarily with the

centrally displayed design of the Franciscan God the Father stained glass, shall serve as central

exhibition space, a symbolic heart of the story of the life and work of Stanisław Wyspiański.

The core of the exhibition shall be the original works of Wyspiański that form the basic

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museum visit itinerary. It must be possible to tour the Wyspiański Museum while following

merely the trace of the objects (the key works must be located so that the visitor who has

little time or is simply not interested in spending long time in the Museum can navigate

efficiently through the exhibition and see Wyspiański’s most famous works).

At the same time, it is assumed that the planned exhibition shall be narrative in nature,

placing the life and work of Wyspiański in the context of the Polish and European art and the

broadly defined social environment. The exhibition shall be arranged around various themes.

The key challenge for the designer shall be to create such exhibition space as to allow

introduction of temporary exhibitions (the area dedicated to temporary exhibitions shall be

approx. 200 to 300 sqm). We expect the designer to propose an approach to address that

issue. A separate space dedicated to temporary exhibitions may be designed. Nonetheless,

designing movable spaces of temporary exhibitions is more interesting from the point of view

of live operation of the exhibition. Thus, the narrative exhibition would be modular to allow

modification of the museum visit itinerary through temporary exclusion of the selected

thematic modules while simultaneously introducing new modules constituting an integral

whole (of the thematic exhibition) that would complement and expand, in a creative manner,

the holistic exhibition dedicated to Stanisław Wyspiański’s versatile work. A number of

different spaces could probably be designated that may be temporarily arranged as temporary

exhibition rooms owing to modern exhibition systems.

That approach places a new challenge before the architect, namely to design corridors

and staircases in such manner that a part of the exhibition can be sealed off (for the duration

of the assembly and disassembly of the temporary exhibition) without any adverse impact on

the flow of visitors in the remaining parts of the exhibition. The suggested approach may be

partial glazing of ceiling slabs to allow visitors to ‘peek behind the curtain’ and watch the

process of setting up the temporary exhibition.

The exhibition space must constitute a functional whole that can be closed at the same

time and accessible to visitors during the limited and predefined opening hours.

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5.5.3. Education space

Based on the experiences associated with the Wyspiański temporary exhibition in the

Main Building of the National Museum in Krakow, it should be assumed that the Stanisław

Wyspiański Museum would be highly popular with varied audiences enjoying different types

of educational activities. It can hardly be imagined that Stanisław Wyspiański would be

removed from the national curriculum at primary and secondary schools. Accordingly, the

assumption has been made that MW’s educational activities would enjoy continuous

popularity.

For that reason, creation of a separate education space with its own back room, with

an aggregate area of approx. 230 sqm is planned. Using a system of wheeled movable walls

enabling flexible space creation, as needed, is envisaged in that area.

Education space is thought to enable simultaneous conduct of classes of varying nature

for varied audiences. It was assumed than an average class/group participating in educational

activities would count approx. 35 persons. Therefore, it is necessary to design a workshop

room of an area of approx. 80 sqm (basic, default arrangement of wheeled movable walls).

Furthermore, design of a large workshop room with an area of 120 sqm is envisaged. The room

must be divisible into two smaller fully sound-proof rooms. Following the division, each of the

rooms must offer direct access to the back rooms equipped with multiple washbasins.

One of the education rooms shall ultimately feature a modular amphitheatre

auditorium system (an auditorium flexible in terms of the seating capacity) foldable into

a uniform wall of a suggested maximum width of 1.5 m. The adopted solution shall enable free

arrangement of the space of one of the education rooms with the option of organising theatre

performances in the layout similar to an amphitheatre and subsequently disassembling the

components and rearranging them into a block uniform structure. Thus, the space of one of

the education rooms must foresee an area allowing for the placement of a folded modular

amphitheatre auditorium. Additionally, that room shall come with a small dressing room

(approx. 20 sqm) situated next to one of the bathrooms with toilets. The room shall feature

a flat floor, with the folded components described above ensuring the right geometry of the

auditorium.

Education spaces shall form a compact Education Zone, an integral part of the

Wyspiański Museum, that would be visible to the visitors and basically define the character of

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the place. A system for bringing more daylight into education spaces shall be designed so that

the rooms appear welcoming and lit up.

At the same time, it is assumed that a part of the education space may be temporarily

excluded, if necessary, from visitors’ use by means of the system of modular mobile walls and

placed at the disposal of the Conservation Department for the purpose of execution of

preventive conservation measures therein (e.g. a display box of an object with damaged

glazing in need of repair). This means that passageways need to be created leading to the

oversize lift that would travel down into the immediate vicinity of the education spaces. Care

shall also be taken to assure the possibility to impose a blackout of the education rooms in

such cases by means of roller shutters.

Also, the education zone must feature a storage room and a bathroom with toilets.

In line with the current trends, the education space shall be multi-functional and allow

flexible layout arrangement based on needs. One of the rooms or adaptable spaces within the

education zone shall have the necessary characteristics to assume the role of the multimedia

library embracing the concept of the ‘digital cocoon’ and featuring very high resolution scans

of all known works of Stanisław Wyspiański (not only from the collection of the National

Museum in Krakow) but also digital versions of his dramas in consecutive editions, full annual

issues of ‘Życie’ [Life] magazine, books dedicated to Wyspiański and critical reviews of

consecutive premieres of his dramas. In other words, this is meant to be the place that could

be visited in reality or virtually by means of the still evolving Internet access technology,

a must-see for everybody interested in the life and work of Stanisław Wyspiański. Integration

of the multimedia library with the educational space is dictated by practical considerations:

access thereto shall be assured also when the exhibition is closed (on Mondays). Meanwhile,

the design of that space offering open access to and from the exhibition rooms shall be

considered. The education space, including the integrated multimedia library may, in

principle, serve as the live centre of learning encouraging the visitors to explore the multi-

layered work of Wyspiański and the works inspired by it. It shall be designed so as to provide

a possibility for holding an academic workshop, a presentation of a lecture. That space must

be arranged in such manner that screenings (e.g. of the performances created on the basis of

Wyspiański’s dramas) intended for small viewing audiences may be organised there.

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5.5.4. Underground part of the development project

5.5.4.1. Impact of designed building on existing green spaces

According to the adopted assumptions, the maximum area of the plot on the western

side of the Main Building is to be occupied by Level -1. This shall involve extensive earthworks

associated, inter alia, with the relocation of the entire existing underground infrastructure and

may involve complete removal of existing greenery from the site (see the ‘Greenery survey of

the surroundings of the Main Building of the National Museum in Krakow, Attachment M09).

When designing the new building, one should remember about possible negative perception

by the general public of this aspect of the development project, i.e. ‘building development on

a green plot in the centre of Krakow’. For that reason, the largest possible proportion of

arranged greenery throughout the site shall be considered after completion of the

development project as well as within the newly created building. Owing to the fact that the

floor slab covering Level -1 shall be found under the majority of the described area, a structure

of the floor slab allowing for the introduction of the arranged greenery is to be envisaged. It

is desirable to integrate the maximum number of plants known from the work of Stanisław

Wyspiański into the design. It is assumed that lawns and shrubs would prevail as trees would

collide with underground and overground infrastructure due to the location and nature of the

development project. However, the possibility of designing, for instance, from the front of the

new building, a habitat for a single tree, providing, on the one hand, convenient conditions for

the development of the root zone and, on the other hand, full security of the underground

structure and infrastructure, shall not be ruled out altogether. Greenery planted in large

seasonally displayed pots may also be designed. However, it shall be necessary to designate

the storage space for the pots during the winter season. Finally, greenery may be introduced

into the interior of the newly designed building as long as it does not compromise the security

and safety of the collections.

5.5.4.2 Functions envisaged in the underground section

It is suggested that the following areas be planned for within the space of the underground

floor:

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1. Infrastructure for visitors, including a cloakroom, a self-service cloakroom and

bathrooms with toilets.

Technical infrastructure for the operation of the new Museum: a transformer

station, a server room, air-conditioning and ventilation system machine rooms, an

MPEC district heating connection room, a water supply connection, a technical

room housing security systems and a UPS room.

2. An underground car park intended for the cars of the staff of the National Museum in

Krakow with a minimum of 40 parking spaces. Parking spaces reserved for persons with

disabilities must be located in the vicinity of lifts. The entrance ramp leading to the car

park shall be situated in Kadrówki Street.

The underground floor shall be connected to the remaining floors so as to ensure

access to the building for persons with disabilities. A storage space for children’s pushchairs

shall also be designed.

From the underground floor, a dual-entrance oversize goods lift with the depth of

approx. 6 m, width of 4 m and height of 4 m shall be planned for. The load capacity of the

goods lift shall allow for the weight of the forklift and offer the forklift a possibility to travel to

level 0 (street). The goods lift must provide convenient access to the exhibition rooms for the

forklift used for transporting cases with objects. The lift shall be situated in the immediate

vicinity of the site adapted to the unloading of works of art. The site shall be large enough to

accommodate a heavy goods vehicle with maximum trailer dimensions of 14 metres (length),

4 metres (height) and 2.60 metres (width).

It shall be necessary to take technical measures in order to secure the underground

part of the development project against the consequences of the rising water level in the

Vistula river and high level of water table.

5.5.5. Rooftop space

For the reasons described earlier, namely the general public’s perception of the

development project, setting up a garden on the building’s roof should be considered. This is

justified also in the context of the award-winning design presented within the framework of

the 2015 competition for the modernisation of the Main Building of the National Museum in

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Krakow (Stelmach i Partnerzy Biuro Architektoniczne Sp. z o.o. architectural firm). In the

popular perception, the key feature of that design was precisely the greenery introduced on

the National Museum’s rooftop.

That greenery should be used for two purposes. Firstly, a summer café operated by the

ground-floor establishment (this requires the design of the appropriate transport

infrastructure, which shall reduce the cost of operation of the rooftop café) shall be designed

on the rooftop. The cafés must be designed so that they can operate independently of the

Museum’s opening hours. An orangery or winter garden space shall also be created to render

the café’s operation on the rooftop possible throughout the year. The designer is expected to

address the issue of accessibility of restrooms for the customers of the rooftop café. This is

necessary given that the premises may be leased on a commercial basis.

5.5.6. Functional relations between the Wyspiański Museum and the Main Building

The Wyspiański Museum is an autonomous structure which, in principle, should

remain in a close functional relation with the Main Building. At the stage of development of

the design concept, a separate entry to the Stanisław Wyspiański Museum shall be envisaged.

The merger of both buildings at the underground level (a connector handling underground

traffic and mechanical transportation) is ultimately planned for. Any merger of the buildings

at the upper floor levels may constitute an element of creative work but nonetheless cannot

condition implementation of the concept of the Wyspiański Museum.

The Contracting Entity is in possession of the concept of modernisation of the Main

Building (prepared by Stelmach i Partnerzy Biuro Architektoniczne Sp. z o.o. architectural firm)

that is not implemented for the time being. Nonetheless, it may constitute a point of reference

as the winning visual concept got a positive response from the general public.

The design must be prepared in such manner that, following the completion of the

future renovation of the Main Building, connection of the underground floors of the two

neighbouring facilities does not require the conduct of any major earthworks at the site

between the Stanisław Wyspiański Museum and the Main Building of the National Museum

in Krakow or performance of any structural work on the part of the Stanisław Wyspiański

Museum.

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The ‘Conservator’s guidelines for the alteration and expansion of the Main Building of

the National Museum in Krakow’ (Attachment M08) shall be taken into consideration when

designing the Stanisław Wyspiański Museum.

According to the conservator’s guidelines, the words ‘the new building cannot cover

the oldest part of the facade, i.e. one stretching up to the 7th pilaster’ shall be treated as

a guideline for preserving the distance between the two buildings along that section. Local

connections between the new development and the Main Building, if any, within that zone

must comply with the invoked conservator’s guidelines on respecting the style characteristics

of a historic building and may not condition the implementation of the concept. In the case of

a potential contact between the newly designed Stanisław Wyspiański Museum and the Main

Building, solutions shall be envisaged permitting exhibition of the facade of the Main Building

in the interior of the new development.

The solutions adopted by the participant must be agreed with the conservator’s office.

5.5.7. Facilities for persons with disabilities

The designed Museum is to be fully accessible to persons with disabilities, both visitors

and staff with disabilities. The designer shall take into consideration the universal design rules.

The designer’s task would be not only to comply with the applicable laws but to work out, in

close co-operation with the representatives of the Museum, such solutions that would allow

for rating the newly erected building among the top European public cultural institutions

accessible to persons with disabilities. Solutions that burden persons with disabilities in any

way or force them to seek extra help (e.g. powered stairclimbers) shall be unacceptable. Use

of lifts providing access to every level of the Museum and, thereafter, elimination (or

minimisation) of level differences, is desirable. Use of platform stairlifts or wheelchair ramps

is not recommended. Use by the designer of the study by Kamil Kowalski titled ‘Designing

without barriers - Guidelines’ is recommended.

It should be remembered that when we make a reference to a group of individuals

potentially excluded due to disability, we do not have in mind solely persons with limited

mobility. Therefore, it is recommended that the building be adapted to the persons with

different needs (e.g. introduction of tactile paving lines and guide paths for visually impaired

persons) at the design stage. It is further proposed that persons with disabilities be not

29

excluded from visitor groups and that the customer service areas for visitors with disabilities

do not become isolated spaces. It is crucial that the designed infrastructure is easily accessible.

Consequently, restrooms for persons with disabilities must be found on each floor, for

instance, so that neither their location nor access thereto is problematic.

The designed space, as an open and accessible museum, shall take account of the

needs of persons with disabilities regardless of the reasons for their limited mobility.

5.5.8. Surroundings of the Museum

The relation of the newly created space with the social environment is deemed critical.

In principle, the Stanisław Wyspiański Museum with the surrounding area is meant as open

public comfort and leisure space in the urban context encouraging visitors to relax and spend

their free time there. During the summer season, a café should operate in the green spaces

surrounding the Museum not as much in the form of a fenced garden but tables scattered

haphazardly over a larger area. Introduction of a lighting system in that area in summer would

allow the site to operate until late at night.

The space in front of the Museum shall become a place bustling with life, providing

a pretext for staying there, a place of fun etc. That outdoor space shall be adjusted to the

requirements of outdoor exhibitions to better promote the life and work of Stanisław

Wyspiański. Use of the greenery and plants present in Wyspiański’s work to be naturally

arranged in front of the planned building of the Museum and properly positioned in relation

to the surrounding green spaces shall be considered a major factor. A summer garden could

be planned for in front of the building.

When designing the Stanisław Wyspiański Museum, it should be kept in mind that it is

set to become an important stop on the trail of the artist whose works are still present in the

city. The Museum may serve as one of the highlights for the participants of walking tours

dedicated to Stanisław Wyspiański.

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5.5.9. Transportation of museum objects

A technical space must also be designed for safe transportation and unloading of

museum objects. The site shall be large enough to accommodate a heavy goods vehicle with

maximum trailer dimensions of 14 metres (length), 4 metres (height) and 2.60 metres (width).

5.5.10. List of areas within Stanisław Wyspiański Museum

Underground floor - suggested areas

A cloakroom for visitors – approx. 150 sqm

a self-service cloakroom with a separate section for the organised groups – 4 boxes (each

intended for 30 visitors). Cloakroom for individual visitors (lockers for 200 visitors, approx. 5

lockers, one locker per 4 persons).

A cloakroom and a back room for customer service staff, Internal Protection Service

personnel, employees and collaborators of Education Department – approx. 40 sqm

A cloakroom with 15 lockers, 2 changing rooms (4 sqm), two toilets with a shower (in

compliance with applicable technical regulations), a bathroom and a toilet adapted to the

needs of persons with disabilities, a kitchen annex with social amenities and a storage room

for mops and cleaning equipment.

Restrooms for visitors - in compliance with applicable regulations

Restrooms for women and men as well as one restroom for persons with disabilities (baby

changing tables mounted in all restrooms).

Technical rooms

Transformer station – approx. 50 sqm;

Server room – approx. 10 sqm;

Engine rooms for air handling unit and air-conditioning installations – approx. 185 sqm;

MPEC district heating connection room – approx. 20 sqm;

Water supply connection – approx. 10 sqm;

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Technical room housing security systems – approx. 10 sqm;

UPS room – approx. 10 sqm; and

AV warehouse – approx. 30 sqm.

Overground floors

Overground floors are intended as exhibition space of a minimum area of 2,400 sqm

The invaluable nature of the collection and safety of the exhibits call for such design of the

exhibition space that it can be completely sealed off from the area intended for the other

functions, accessible also during the hours after the closure of the exhibition (the cafés, the

store and the education space etc.). Exhibition space shall be deprived completely of daylight

access (total blackout). The exhibition space cannot be designed on the underground floor

due to the strict conservation guidelines.

Passageways at all levels must be adjusted to the needs of persons with disabilities. The main

passageways must be accessible by forklift. At the same time, passageways must be designed

so that objects may be brought from each exhibition room to the place by the lift and,

thereafter, taken down to the education rooms.

Restrooms for visitors of approx. 4 sqm (to be planned on each overground floor, except for

the roof)

A restroom adjusted to the needs of persons with disabilities + a baby changing table

A staff restroom of approx. 4 sqm (to be planned on each overground floor, except for the

roof)

A restroom adjusted to the needs of persons with disabilities

A utility room of approx. 3 sqm (to be planned on each overground floor, except for the roof)

Lobby zone

Information desk and cash desk – an island of approx. 8 sqm

A modular mobile point housing two cash desks (ticket office) and an information desk with

the rental of audio guides. This is the most important space from the point of view of the

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persons entering the Museum and, as such, must be found immediately by visitors. At the

same time, it must be adapted to the needs of persons with disabilities, i.e. a section of the

desk must be lowered in an effort to adjust it to the needs of wheelchair users.

Internal Security Service desk – approx. 15 sqm

a guardroom enabling the monitoring of buildings’ security systems;

a restroom; and

a dedicated security checkpoint (a desk and an everyday use key cabinet).

Two priorities must be reconciled: placement of the Internal Security Service desk as close as

possible to the entrance/exit while preserving discreetness of that space (as it cannot appear

as oppressive to visitors). A proposed solution encompassing the security checkpoint and the

CCTV monitoring room, as two separate spaces, is expected.

Café with a lunch bar and a back room of approx. 50 sqm

Café - 26 sqm, café’s kitchen facilities - 8 sqm, storage room - 8 sqm, dish washing room - 4

sqm and a restroom - 4 sqm. It is suggested that the café space be designed so that it can

open, during the summer season, onto the area surrounding the building where a café garden

may be arranged. The customers of the café must be assured access to the restrooms, also

outside the Museum’s opening hours. Plans shall be made for connecting the ground-floor

café to the rooftop café, e.g. by means of a separate lift.

Leisure zone – approx. 60 sqm

A section of the entrance lobby arranged with furniture (a sofa and armchairs) guaranteeing

visitors comfortable conditions for relaxation while reading or drinking hot and cold beverages

purchased at the café etc.

Room for parents with small children – approx. 10 sqm

A room intended for breastfeeding mothers furnished with a sofa and a baby changing table

and equipped with a bathroom with a toilet.

Museum store - bookshop, back rooms and warehouse – approx. 50 sqm

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The museum store and bookshop shall be embedded in the lobby’s space forming an integral

whole with the comfort zone and the café.

The museum store must come with a back room. The location shall be chosen that is highly

visible and easily accessible to visitors within the entrance/exit space (it is more important to

locate the museum store on the way ‘out’ rather than on the way ‘into’ the exhibition space).

Utility warehouse – approx. 2 sqm

Education space – approx. 230 sqm

The concept behind this space is that it shall offer maximum opportunities for flexible shaping

of individual rooms (use of mobile modular walls). The education space must be lit up with

daylight, with a possibility to cut off daylight for one of the rooms (blackout capability).

The basic areas include:

two education rooms – approx. 120 sqm (2 x 60 sqm);

one education room – approx. 80 sqm (divisible into smaller rooms). This is the room

that may serve as the amphitheatre room (modular auditorium folding into a wall of

a maximum width of 1.5 m). It must come with a back room and, additionally,

a dressing room (approx. 20 sqm);

storage room – approx. 10 sqm.

The education space shall be multi-functional with the integrated multimedia library

constituting the Stanisław Wyspiański knowledge centre and a depository of recordings of

theatre performances. The space shall be arranged so as to enable holding of lectures,

presentations, workshops and film screenings etc.

An independent bathroom with a toilet shall be envisaged in the vicinity of the education

space.

Office space – approx. 10 sqm

This room may be envisaged at any of the overground floors.

Rooftop level

Café with a back room of approx. 50 sqm in roof-clad glazed section

34

A café of approx. 40 sqm with a back room of approx. 10 sqm and a staff restroom of approx.

3 sqm – a café in the orangery/winter garden operating all year round regardless of the

weather conditions. Furthermore, an outdoor café shall be designed in the rooftop area

doubling as a viewing terrace. An open terrace’s area should be approx. 150 sqm.

The rooftop café must be designed so that it can operate independently of the Museum’s

opening hours. The role of the designer is to propose solutions guaranteeing that the

customers of the rooftop café have free access to the restrooms (also after the closure of the

Museum). It is assumed that the back room of the lobby café would support the operation of

the rooftop café. Accordingly, the appropriate connection between the lobby café and the

rooftop café shall be designed.

35

6. Technical guidelines

6.1. Building’s structure

The designed structure must guarantee parameters required from public buildings

while satisfying the requirement of sound and rational management of public funds. When

determining load-bearing capacity of ceiling slabs, the planned transportation options within

exhibition rooms using a forklift shall be considered. A technical infrastructure enabling

freedom to make layout changes in the future shall be embedded in the structure of the floors

and ceilings.

The ceiling slab over the top floor occupied by the exhibition is a critical place. Given

the planned use of the roof surface for a rooftop café and its partial occupation by the garden,

adequate insulation must be designed that would guarantee security of the collection and full

water insulation of the ceiling slab (reversed terrace insulation and detection systems).

6.2. Energy efficiency

Reliance on the solutions that ensure maximisation of energy gains and minimisation

of heat losses is proposed. The applied technologies of construction of the building’s envelope

must be characterised by a low heat-transfer coefficient.

The solutions must be built into the design that allow for minimising energy

consumption during the operation of the facility, including lighting control, with lighting

scenes fine-tuned to comply with the conservator’s guidelines to be agreed at the building

design stage.

The solutions contributing to the reduced demand for energy shall include, but not be limited

to:

raising the building’s thermal protection standard and reducing heat losses through

the building’s envelope;

reducing energy losses caused by ventilation by controlling supply of outdoor air

depending on carbon dioxide concentration in the exhaust air;

using the outdoor air to control climate inside the building by introducing the

appropriate control algorithms, e.g. increasing ventilation at night in summer to cool

36

down the building or taking advantage of the difference between the water vapour

mixing ratio for indoor and outdoor air to control relative humidity within individual

zones;

leveraging the potential of climate control zones (including planned ventilation

systems cooling and heating air that are used intensively but over short periods of

time, e.g. in the conference room) to support systems controlling conditions within

other groups of premises;

rationally deploying heat-generating devices so that they do not contribute to local

temperature increases;

applying procedures that reduce heat consumption;

using energy-saving controlled lighting;

relying on solutions that contribute to reduced consumption of hot water in buildings;

enhancing quality and performance of energy transmission and distribution within

indoor systems;

applying energy-efficient devices and equipment within indoor energy transmission

and distribution systems;

using renewable energy sources such as:

− solar radiation energy: through use of solar architecture solutions, including

passive systems and daylight lighting; in active heating systems; in electrical

systems with photovoltaic (PV) arrays;

− energy within the building’s surroundings contained in its natural environment, e.g.

ground, air and waters (both groundwater and surface water) through use of heat

pumps;

− waste energy through recuperation of heat from ventilation systems, waste water

and other;

− seasonal warehousing of thermal energy in the ground;

− thermal energy warehousing using the phenomenon of state change of various

materials;

− pre-heating or pre-cooling of ventilation air in underground piping (ground heat

exchangers); and

− use of rainwater.

37

The systems supplying various utilities shall be fitted with separate meters so as to allow

real-time monitoring and recording of utilities consumption within individual processes, also

by climate control systems. Generation of energy from solar sources shall also be monitored.

Each of the meters shall be connected to BMS. When using solutions based on renewable

energy sources, adequate technical space must be ensured depending on the implemented

technology. A key factor shall be designing its adequate layout within the building consistently

with good practices, with the least possible interference with the potential exhibition space.

The right place in the building shall be selected, for instance by the main entrance where

the visiting public shall be advised, by means of modern communication devices, of the

conditions prevailing inside the building and of the aggregate energy consumption, aggregate

energy generation etc. (BIM – Building Information Modelling).

6.3. Security systems

Given the value of the collection, the Museum is to be placed on the list of the facilities

subject to compulsory protection. Once placed, the facility shall be provided with qualified

security personnel from the Internal Security Service or a qualified provider of security

services. A minimum of two (2) security guards and one (1) security guard, respectively, during

the day and at night, must be seconded to ensure security control and security of the

collection. A guardroom must be envisaged for the security personnel in which alarm control

panels, fire alarm panels and closed-circuit television (CCTV) system are to be deployed and

a weapons storage room is to be located. The guardroom shall feature social amenities, i.e.

a place for eating meals, a locker room and a restroom. Locating those rooms elsewhere would

necessitate an increase in the number of guards.

For the newly-built museums, (building, technical and electronic) security measures

shall be applied assuring the degree of security described in Regulation of the Minister of

Culture and National Heritage of 2 September 2014 (Journal of Laws 2014 Item 1240).

Additionally, swift evacuation of the collection must be assured, namely sufficient

width of entrances and staircases, a goods lift, with an evacuation site envisaged.

38

The building shall feature an improved security standard in relation to the

requirements defined in Regulation of the Minister of Culture and National Heritage on

securing museum collections against fire, theft and other risks threatening their destruction

or loss, and the ways of preparing collections for evacuation in case of danger.

Modern systems must be used to secure the building and the collection. Integration of

various functionalities on a single platform enabling centralised management and handling of

alarms/alerts and swift identification of incidents shall be considered. The software must

operate while taking into consideration the cause-and-effect relationship via the

accompanying systems:

1. Intrusion Detection System (IDS) featuring, as a minimum:

Early detection of potential burglars

Laser-based security measures

Possibility to build network systems based on IP and fibre optic technologies

2. Closed-circuit television (CCTV) featuring as a minimum:

Face and non-standard behaviour detection system

Mega pixel IP cameras with minimum Full HD resolution

Fibre optic signal transmission

Vehicle parking system - automatic gate/barrier opening for authorised users

Possibility to build network systems based on IP and fibre optic technologies

3. Access Control System featuring, as a minimum:

Automatic Person Identification

Possibility to build network systems based on IP and fibre optic technologies

4. Fire Signalling System (FSS) offering, as a minimum:

100% software redundancy

Optic fibre transmission between modules

Possibility to build any network systems based on IP and fibre optic technologies

Sensors adjusting automatically to ambient conditions

Visualisation of a system responsible for identifying the site of the incident and

generating all instructions required for proper handling of an emergency

Early detection smoke evacuation system

5. Sound Warning System (SWS) featuring, as a minimum:

39

Signalling lines based on IP and fibre optic technologies

Breakdown diagnosis and detection mechanisms

Possibility to use the system for presentations, conferences etc.

6. Customised security mechanisms protecting the collection featuring, as a minimum:

Laser beam sensors

Possibility to expand the system based on IP and fibre optic technologies

7. Building automation

Smart lighting control integrated with IDS and CCTV

8. Dynamic escape route lighting The system is to identify the safest escape route using

luminaires displaying escape signage with dynamically changing content.

9. Uninterruptable power supply (UPS)

10. Water leak detection system - the system shall ensure protection from and prevention

of any destruction caused by flooding of rooms or devices.

6.4. Fire protection

In pursuit of its mission, the National Museum in Krakow pays special attention to the

level of fire safety. Given the nature of the collection, a higher than average level of fire safety

shall be assured. Therefore, in addition to fire protection safeguards required by law, the

presented designs must address the following issues:

As a minimum, exhibition rooms and exhibit warehouses shall be fire separated from

the remainder of the facility or, at best, constitute separate fire zones.

Permanent fire (gas) extinguishing equipment shall be deployed in server rooms, UPS

rooms and throughout the exhibition space.

Indoor fire hydrants with a place for a fire extinguisher (integrated). Such approach

ensures permanent deployment of fire extinguishers by fire hydrants. Fire

extinguishers shall be placed in flush mounted hydrant boxes.

The lobby and passageways are to be friendly, welcoming and open zones, which, in

terms of height and functional requirements, shall entail the use of appropriate architectural

solutions and technical means driven by the need to satisfy fire protection demands.

40

As regards general guidelines, the following shall be considered:

Need to account for the fact that more than 50 persons would be staying within the

designed premises of the building at the same time.

Adoption of an approach to the building’s division into fire zones that would allow

making the museum accessible to the largest possible number of persons at the same

time.

The need for incorporating, already at the design stage, the points/sites of deployment

of handheld firefighting equipment (extinguishers) and fire hydrants, preferably in the

integrated format.

Role of passive fire protection of persons and, as equally important, the collection.

Division of the building into fire zones, definitely smaller than the maximum ones

envisaged in technical and building regulations, would help protect exhibits in the case

of a fire in a specific location by preventing its uncontrolled spreading.

Some of the designed technical premises shall be separate fire zones. However, it is

recommended to consider whether or not other premises used for storage of large

volumes of ‘flammable materials’ (e.g. multimedia library and cloakroom) that are not

subject to the obligatory fire protection zoning would not have to constitute separate

fire zones.

An expert fire protection opinion has been prepared and approved for the Main Building

bordering directly on the planned development site identifying alternative solutions to bring

it into compliance with the applicable fire protection regulations. That expert opinion

envisages existence of a fire access lane along the western facade of the museum’s Main

Building. That shall give rise to the need for proposing, at the design stage, alternative

approaches based on those assumptions and agreeing them with competent authorities and

securing relevant approvals.

6.5. Climate and air pollution control

FUNCTION at

MW

Air

temperature

stabilisation

level

and

permitted

fluctuations

[oC]

Relative air

humidity

stabilisation

level

and

permitted

fluctuations

[%]

Ventilation Climate

control

zones

Comments

Permanent

gallery (also

with a space

for temporary

exhibitions)

+18˚C ≤ T ≤

21˚C

±1˚C

stabilisation

level

Changes up to

2˚C per 24-

hour period

Please note:

The baseline

for settings is

the lower end

of the range!

45% ≤ RH ≤

55%

±2.5%

stabilisation

level

Changes up to

2% per 24-hour

period.

Please note:

The baseline

for settings is

the lower end

of the range!

The

variable

air

exchange

rate in the

exhibition

rooms

shall be

dependent

upon the

carbon

dioxide

level set

by the

Museum.

The rooms shall be fitted

with the systems permitting

flexible temperature control

and stabilisation as well as

selection of temperature

levels for activating and

deactivating heating and

cooling processes.

The user shall have a

possibility to set the relative

humidity level at which

dehumidification and

humidification processes are

activated.

The system shall offer the

possibility to launch an

emergency procedure

deactivating the heating

system if RH<35% as long as

temperature does not fall

below 15oC.

Precise control of micro-climatic

parameters requires the use of

independent temperature and

relative humidity control

systems as well as multiple

42

systems co-operating in the

execution of processes of

cooling/heating and

dehumidification/humidification,

including a floor-embedded

system, as well as small

exchange of air between the

premises and design of

appropriate barriers.

Temporary

exhibition

room (if any)

+18˚C ≤ T ≤

21˚C

±1˚C

stabilisation

level

Changes up to

2˚C per 24-

hour period

Please note:

The baseline

for settings is

the lower end

of the range!

45% ≤ RH ≤

55%

±2.5%

stabilisation

level

Changes up to

2% per 24-hour

period.

Please note:

The baseline

for settings is

the lower end

of the range!

The

variable

air

exchange

rate in the

exhibition

rooms

shall be

dependent

upon the

carbon

dioxide

level set

by the

Museum.

The rooms shall be fitted

with the systems permitting

flexible temperature control

and stabilisation as well as

selection of temperature

levels for activating and

deactivating heating and

cooling processes.

The user shall have a

possibility to set the relative

humidity level at which

dehumidification and

humidification processes are

activated.

The system shall offer the

possibility to launch an

emergency procedure

deactivating the heating

system if RH<35% as long as

temperature does not fall

below 15oC.

Precise control of micro-climatic

parameters requires the use of

independent temperature and

relative humidity control

systems as well as multiple

43

systems co-operating in the

execution of processes of

cooling/heating and

dehumidification/humidification,

including a floor-embedded

system, as well as small

exchange of air between the

premises and design of

appropriate barriers.

Education

rooms (we

envisage the

possibility

that, under

exceptional

circumstances,

they are used

from time to

time as a

room for

carrying out

works on

museum

objects)

In the case of

introduction

of heritage

objects, the

room shall

offer a

possibility to

set the

parameters to

the values

recommended

for an

exhibition:

+18˚C ≤ T ≤

21˚C

±1˚C

stabilisation

level

Changes up to

2˚C per 24-

hour period

Please note:

In the case of

introduction

of heritage

objects, the

room shall

offer a

possibility to

set the

parameters to

the values

recommended

for an

exhibition:

45% ≤ RH ≤

55%

±2.5%

stabilisation

level

Changes up to

2% per 24-hour

period.

The

variable

air

exchange

rate in the

exhibition

rooms

shall be

dependent

upon the

carbon

dioxide

level set

by the

Museum.

The rooms shall be fitted

with the systems permitting

flexible temperature control

and stabilisation as well as

selection of temperature

levels for activating and

deactivating heating and

cooling processes.

The user shall have a

possibility to set the relative

humidity level at which

dehumidification and

humidification processes are

activated.

The system shall offer the

possibility to launch an

emergency procedure

deactivating the heating

system if RH<35% as long as

temperature does not fall

below 15oC.

Precise control of micro-climatic

parameters requires the use of

independent temperature and

relative humidity control

systems as well as multiple

44

The baseline

for settings is

the lower end

of the range!

Please note:

The baseline

for settings is

the lower end

of the range!

systems co-operating in the

execution of processes of

cooling/heating and

dehumidification/humidification,

including a floor-embedded

system, as well as small

exchange of air between the

premises and design of

appropriate barriers.

6.6. Multimedia system

The building shall be equipped with state-of-the-art multimedia facilities. The adopted

solutions and applied devices shall support all previously described functions of the building

and serve as part of the layout of the selected spaces. Use of advanced image projection

techniques or other audio-visual techniques shall allow for modern layout of usable and

exhibition areas. Multimedia shall support the permanent exhibition by permitting display of

objects when their originals cannot be exhibited, for instance, due to conservation (paper-

based objects). The state-of-the-art technical capabilities for laying out premises using

multimedia devices shall be employed. To a large extent, this shall render more attractive

perception of the works by shifting the spectator into the virtual space while contributing to

the atmosphere of the venue and time. As a result, a layout of large spaces shall be introduced

enriching and rendering more attractive perception of the works. That, in turn, shall

contribute to the establishment of a unique and individual character of the object highlighting

and exhibiting, in a modern format, the characteristic features of the work of Stanisław

Wyspiański.

A visual information presentation system based on the broadly understood Digital

Signage solutions shall be designed. The system shall support all screens deployed in

passageways and usable areas such as the lobby, the relaxation and recreation zone and the

café. The system shall be used for broadcasting commercials and informative content. Use of

interactive presenters operating as info points, optionally equipped with devices supporting

visitors (optionally, code readers, printers of tickets and booking confirmations, ticket

validators and navigation message displays) shall be envisaged. The used multimedia solutions

45

are meant to support navigation around the building using a consistent visual communication

system.

Exhibition and usable rooms shall be equipped with permanent sound systems. The

system based on multi-zone audio devices shall enable acoustic arrangement of the rooms

depending on their functions. Technical solutions shall be applied consistent with the rooms’

intended functions. The lobby shall be equipped with a public address system to support

speeches, vernissages, public appearances, debates etc. It shall also enable connection of

additional audio devices for small concerts, theatre performances and shows. The audio

system shall permit recording of sound and make available the sum of the mix for the purpose

of TV and radio productions.

Education rooms shall be equipped with state-of-the-art multimedia facilities. Laser

beam multimedia projectors shall be used, allowing reduction of operating costs associated

with replacement of lamps in traditional projectors. The multimedia system shall be intuitive

and enable connection of various audio-visual devices, including mobile devices, using various

input interfaces. The solutions applied shall provide for a possibility of dividing and merging

rooms by using movable partition walls. Each of the rooms shall be equipped with an

autonomous multimedia installation. Once the rooms have been merged into one room, the

system shall automatically configure itself into a single integral multimedia system. Rooms

shall support individuals with hearing dysfunctions. The rooms’ multimedia equipment shall

be managed from the control panel where the operating functions of specific devices could

be switched and lighting, roller shutters and other technical devices managed in the graphic

format. The AV signals shall be distributed using wire and wireless solutions. The rooms’

equipment shall take into consideration their educational function and, consequently,

solutions shall be used typical for a given function, e.g. support of Kinect technology.

In addition to the practical and utility functions, the projected multimedia system shall

contribute, to a large extent, to the creation of the atmosphere of the place and highlight its

unique character. Stations shall be planned where works of art could be presented using the

virtual reality (VR) technology and stations for viewing holographic presentations or spherical

photographs. Given the artist’s fascination with nature and flowers, multimedia stations using

the odour exhibition function shall be planned.

46

Multimedia equipment and content shall be managed centrally. All devices shall be

covered by a system allowing monitoring of their status, possibility of automatic and periodic

activation and deactivation based on time schedules.

The used multimedia solutions shall support broadly the display itself and the

exhibition rooms.

6.7. IT system

The building shall be equipped with state-of-the-art technologies that satisfy high

safety standards and enable easy and swift configuration and adaptation of new devices

required for exhibition rooms. All IT network installations shall be equipped and prepared as

fully redundant, thus eliminating the risk of any downtime in the operation of the networks

or devices connected to that IT network. The entire usable part of the building shall boast Wi-

Fi network coverage to enable multimedia configuration and integration. A technical room

shall be designed in the building operating as a server room. Additionally, shafts shall be

designed on every floor in which active devices (switches) shall be deployed. The building’s

cabling shall correspond to 7a category, whereas core nodes shall rely on fibre optic lines. The

building shall be fitted with a full infrastructure monitoring system enabling a swift response

to breakdowns and supporting their efficient removal.