Open-air Museum Research Articles

QUANTITATIVE VISITORS' ANALISYS TO THE FARM CULTURAL PARK MUSEUM (FCP), IN FAVARA, SICILY (ITALY)

This study focuses on one line of cultural tourism. Specifically, in a contemporary art museum, located in Favara, (Agrigento), Sicily, called Farm Cultural Park (FCP) Museum. The study analyzes the profile of FCP visitors, from the perspective of cultural, sustainable and participatory tourism. A total of 302 surveys were conducted during June, July and August 2020. Therefore, it must be considered that they were the first months after the confinement decreed in the country due to Covid-19, with all the obvious difficulties. Data analysis was carried out with the SPSS statistical program in its version 26. The methodology was based on a structural equation model (SEM), with different causal relationships among the analyzed constructs. Tourists came with the precise interest of visiting an open museum, with a very high social and participatory component. The visitors were fully satisfied by the staff who welcomed them. A medium-low level of spending was observed, linked to consumption inside the museum. And, unfavorable opinions were expressed on a lack of signage to arrive in FCP. The final results support the influence of preferences upon satisfaction, which originates attitudinal loyalty. Therefore, it would be very important for Sicily to show that tourism on the island could not be seasonal, due to the magnificent climatic conditions that prevail throughout the year. It would also be crucial to expand research on the synergies of cultural tourism that could be generated between the Valley of the Temples, in Agrigento, and the FCP, in Favara. In this way, a greater range of sites would be offered that concern various interests and ideas, both for the department’s business community, as well as for tourists. The corollary of these actions would be to increase the presence of Agrigento on the map of international cultural tourism. All this should be capable of transforming, enhancing and making known the richness of territorial diversity, traditions and historical and environmental contexts, first in the department of Agrigento, and later, throughout the island.

Sacred and Architectural Objects of Pereiaslav Skansen: Preservation, Development, Prospects

The article analyses the preservation, development, and further prospects of the functioning of the sacred and architectural objects of the Pereiaslav open-air museum in the conditions of the full-scale Russian-Ukrainian war and the post-war reconstruction of the Ukrainian state. A review of the history of the construction and operation of church buildings was carried out. Their architectural features are characterised. The circumstances of museification are considered. Particular attention is paid to the peculiarities of the coexistence of museum exhibits and religious buildings and the visitors' perceptions of this phenomenon. It is shown that during the totalitarian era, as a result of the state struggle against religion, a huge number of Ukrainian sacred monuments were destroyed, but thanks to the ascetic activities of museum workers, some of them were saved. It was revealed that M. Sikorskyi, M. Zham, together, not only saved sacred objects from complete destruction, but also restored the previous appearance of monuments, thereby preserving them for the contemporaries and descendants. It has been clarified that what the totalitarian Soviet government could not destroy, now it is trying to destroy the criminal Putin regime, therefore, there is an urgent need to carry out a 3-D recording of all historical, cultural, and artistic monuments in Ukraine, if possible, in order to successfully restore them in the event of possible damage to the original appearance of objects. It has been proven that sacred sights are an important component of the development of cognitive types of tourism. The importance and necessity of including the sacred monuments of the museum and the city of Pereiaslav in tourist routes are argued. Their sacral-tourist potential for the development of excursion-religious tourism is determined. The further effective use of sacred monuments for the further development of the tourist resource is substantiated. The results of the research can be used by museum workers, local self-government bodies, and tour operators to develop and substantiate prospective plans for the optimization, improvement, and development of tourist activities based on the sacred heritage of the museum for its popularisation on the domestic and international market for tourist services.

PRESERVATION OF THE HISTORICAL PART OF THE CITY OF BELGOROD AS A CULTURAL AND HISTORICAL HERITAGE OF THE REGION

One of the main priorities of urban development programs of our time is the preservation and regeneration of cultural heritage. The process of preserving historical territories in the city center is an effective solution to strategic urban development tasks that can affect neighboring territories. Most of the territories of the Belgorod OCN are now located in the central part of the city and occupy a significant part of its territory. In the future of development, it is possible to create open-air museums with the creation of new public spaces. The analysis of the means of application and world experience of the modern process of museification of the historical part of the city is carried out. The main qualities that historical buildings should have in modern use in order to achieve a high level of comfort are determined. The existing system of the historical center of the city of Belgorod and its elements in the form of historical and architectural monuments is analyzed. An urban planning analysis of the location of the last Belgorod fortress in the historical center of the city was carried out. The factors that influence the definition of the subject area of projects for the transformation of historical territories are identified: external (social, environmental, urban planning, security and rehabilitation) and internal (economic, planning, constructive, aesthetic). The concept of the conservation project proposal should be based on a comprehensive museification of historical and cultural heritage objects located within the boundaries of the territory of the historical center of the city.

Absent Presents: musealisation of the historic town of Hasankeyf as a manifestation of ‘Absent Heritage’

ABSTRACT In 2020, the waters of the Ilısu Dam Reservoir reached Hasankeyf, a historic town in the southeast of Turkey. Despite the public outcry, the ‘New Hasankeyf’ had already been constructed across the historic town, including an open-air museum. Comprising of a cultural park, a new museum building and an archaeological park, the open-air museum presents some of the monuments transferred from the historic town together with museum displays exhibiting Hasankeyf’s architecture and everyday life. The main motive of the Turkish authorities was to ‘presence’ the once-living Hasankeyf through the urbanism and architecture, its open-air museum, and the narratives of museum displays. This article discusses how musealisation has been used as a strategy to conciliate the opposition for the loss of a once-living Hasankeyf and how the new open-air museum is in fact an absent presence, a constant reminder of what is being lost. By outlining the approaches and strategies used to transfer and present historic monuments, fragments, and artefacts in the open-air museum, the article argues that the musealisation of Hasankeyf is a clear manifestation of lost heritage, which should be regarded as ‘absent heritage’.

Impossible Voyages: Wangechi Mutu at Storm King

Impossible VoyagesWangechi Mutu at Storm King Irina Sheynfeld (bio) "My work is for my daughters and my sons and the next generation who will hopefully continue to create new ways of telling our histories and of stitching us all back together."1 —Wangechi Mutu Kenyan-born American multidisciplinary visual artist Wangechi Mutu (b. 1972) brings her fantastical menagerie of beings to the expansive landscape of Storm King Art Center, an open-air museum about ninety miles north of New York City. The artist divides her time in the studio between Nairobi and New York City and in her practice, she incorporates elements from both worlds. Her work has been described as deeply feminist and informed by both Afrofuturism—a cultural aesthetic that combines science fiction, history, and fantasy to explore the African American experience—and Symbiocene, a term coined in 2011 by Glen Albrecht, that describes a new era in human history that is characterized by harmonious interactions between humans and all other living beings. Eight large-scale sculptures populate the museum hill and about twenty additional works, including two films, span two floors of the main museum building. This is perhaps one of the artist's most comprehensive solo shows to date. Mutu's work is an intervention into Storm King's pastoral, hilly landscape and it encourages a conversation between museums past and present. It also makes us think anew about the importance of ritual and its creation, as well as the new meaning of one's journey through life. In her practice, Mutu doesn't just rethink existing mythologies but she often creates new ones. She conjures fantastical, futuristic female beings and creates worlds for them to travel through. Mutu deals with themes of reinventing the journey, rewriting mythology, and reconstructing ritual. The artist creates new creatures on a voyage through unknown territory. Both of her most recent sculptural groups, In Two Canoe (2022) and Crocodylus (2020), depict travelers whose destination and purpose are [End Page 101] Click for larger view View full resolution Figure 1. In Two Canoe, 2022 Bronze 180 × 68 × 72 in (457.2 × 172.7 × 182.9 cm) Edition 1/3 unknown, while Shavasana I and II (2019) present us with those whose journey has just ended. On top of Museum Hill, at the center of the park and right in front of the museum building, there is a fifteen-foot-long bronze fountain, In Two Canoe. It consists of two patinated olive-green humanoid female figures seated inside a water-filled boat. Both women's legs are spread wide and hang down over the sides of the canoe into the earth as slender mangrove roots. In an interview with the New York Times, Mutu explains that, "Mangroves are migratory. This plant has moved everywhere and has made journeys like those who were kidnapped from Africa and taken to the Americas. The water seals this unified story we've created for ourselves. We are all connected on this sphere of earth and the water is how we go and find each other." But where are two giantesses going in a boat that is filled to the brim with water? The unexpected placement of the water—inside rather than outside of the boat—makes one wonder how these woodland leaf-covered aliens are going to get anywhere. Does it mean that their mysterious journey is doomed from the get-go? Mutu's beings are simultaneously awe- and fear-inspiring. The couple in Canoe recalls a small stone plaque from the mid-fourteenth century [End Page 102] Click for larger view View full resolution Figure 2. In Two Canoe, 2022 Bronze 180 × 68 × 72 in (457.2 × 172.7 × 182.9 cm) Edition 1/3 BCE, Akhenaten, Nefertiti and Their Three Daughters Under the Strahlenaton. The stele, which is housed at the Neues Museum in Berlin, is unique in the three-thousand-year history of Egyptian Art, as it depicts Pharaoh and his wife not idealized in a canonical way but as equals seated in front of each other.2 One notices a striking resemblance between the figures [End Page 103] of Mutu's Canoe and those depicted on the Akhenaten plaque; they share...

Multi-Analytical Investigations of the Medieval Turkish Bath from Golești Open Air Museum

The Golești Manor ensemble consists of architectural monuments dating back to the 17th, 18th, and 19th centuries, with ephemeral architecture roots from Phanariot times but also some pre- Brancovan influences. The Turkish steam bath is placed in the northeast of the enclosure, and it is thought to have been built by Stroe Leurdeanu. Although there are still original fragments of the old plaster that have been preserved, the Turkish bath has undergone several restorations through time, some of them poorly documented. Hyperspectral imaging (HSI) combined with LIBS were used in order to analyze the bricks and the mortars, evaluate their preservation state, map the original elements, and document and classify the interventions previously made. Based on the supervised classifications, several areas of interest were selected for LIBS elemental analysis, and multivariate data analysis was conducted in order to discriminate similar composition materials and to map the interventions and the original. By analyzing the variability of the spectral profiles, different algorithms were applied to the SWIR hyperspectral images in order to classify the main elements of the brickwork.

ВЕСІЛЬНА ОБРЯДОВІСТЬ ЧЕРНІГІВЩИНИ ЯК ПЕРСПЕКТИВНИЙ НАПРЯМОК РОЗВИТКУ ФЕСТИВАЛЬНОГО ТУРИЗМУ У ВІТЧИЗНЯНИХ СКАНСЕНАХ ТА СІЛЬСЬКИХ САДИБАХ

Today, there is a considerable amount of scientific literature, which states that festival tourism is a promising type of tourism. The largest places for holding ethnic-style festivals are open-air museums (open-air museums), as well as smaller, but quite popular among fans of traditional cultural ceremonies, rural estates. Among the rich program offers, native manors offer visitors the organization of wedding events with Ukrainian traditional rites to order, and, larger in scale, foreign and domestic scanens hold annual wedding festivals. Wedding festivals have gained special development in the Kyiv region. However, other regions of Ukraine also have a rich cultural wedding ritual, which can be used to create new interesting mass tourist events in open-air museums and rural estates. Among such regions is Chernihiv Oblast, which has a rich historical and cultural heritage, including a unique wedding ceremony. Conventionally, it can be divided into several stages – pre-wedding, wedding and post-wedding.The pre-wedding cycle includes rites related to the consent of young people and their families for marriage: matchmaking or engagements. The actual wedding ritual also contains many interesting elements, for example, baking a korovai and «cones» decorating a «vil’tse» (wedding tree decorated with ribbons). These traditions still followed in the village of Stavyske in Chernihiv Oblast, and the natives of this village willingly return there to perform wedding in the traditional style, as their ancestors once did. Using open-air museums and village estates in ethno-festival tourism of wedding traditions and ceremonies of Chernihiv Oblast can attract tourists, popularize the cultural heritage of the Ukrainian people, and contribute to the economic revival of Ukrainian villages.

Методика музеефикации палеонтологического наследия IN SITU

The purpose of the article is to determine approaches to the museification of paleontological heritage objects on site within the framework of current museological landscape and environmental approaches. In domestic practice, natural heritage is considered in the context of cultural, and the problems of its preservation are investigated from the standpoint of conservation measures. The reasons for the low museification of natural heritage objects are revealed. Methods of preservation of paleontological objects by museum means are developed on the basis of the well-established methodology of museological practice of archaeological heritage museification, optimal ways of their exposition interpretation are determined. It is revealed that the main method of museification of paleontological objects is conservation, the identified finds can be exhibited in a separate building or directly in situ, in this case it is necessary to erect a glass dome or pavilion over the object. To enhance the attractiveness of the object in the exhibition space, graphic or virtual reconstruction can be used. Based on this technique, an open-air museum can be created, which will ensure the preservation and comprehensive museification of unique natural objects.

Cercetări arheologice preventive în orașul medieval Târgoviște – Strada Calea Domnească nr. 192 / Preventive excavations in the medieval town of Târgoviște – 192 Calea Domnească St.

Towards the end of 2020, across the street from what is today Princely Court Openair Museum, the formally Princely Court of Târgoviște, as part of a rescue archaeological research project, on a relatively small surface, several medieval features were discovered. These structures unveiled several historical sequences from the timeframe of XVth– XVIIIth century. The oldest objects, consisting of a few ceramic fragments, indicate the existence of dwellings from the La Tène period and from the IIIrd– IVth centuries, somewhere in the area. Artifacts and features dated to the XVth– XVIth centuries documented the existence of a craftsman’s workshop in the same area. The most important discovery, however, is a necropolis (18 features), partially captured in the surveyed area, previously untraceable in terms of documentary information. The same chronostratigraphic context revealed a sidewalk pavement and a collapsed building, probably a bell tower. These discoveries suggest the existence of an ecclesiastical complex, dated in the second half of the XVIth century, but whose existence, according to some clues, seems to have been rather short. The first‑hand observations during the excavation on the youth of many of those buried were also confirmed by anthropological research. Thus, the interdisciplinary research corroborated information from contemporary documents, about Wallachia and implicitly Târgoviște, between the end of the XVIth and the first three decades of the XVIIth century, a series of military events took place whose negative effect was enhanced by natural calamities, translated into famine and disease. The necropolis and the medieval structures discovered at Strada Calea Domnească nr. 192, on a surface of about 70 square meters, are yet another layer from the complex chronostratigraphy of the city and, at the same time, proves, on one side, still the remarkable archaeological potential of Târgoviște, and on another, that research of its past entered in another stage.

The new approach to commemorating open-air war sites on the example of the Museum of Westerplatte and the 1939 war in Gdańsk, Poland

This paper focuses on current issues in the development of open-air memorial sites. The concept of open-air museums is evolving in the twenty-first century to encompass sustainable protection of war monuments in their historical context. The cultural landscapes require minimal intervention. However, to ensure the viability of the museums and accessibility to visitors, new additions – in terms of architecture and urban design – are inevitable. The challenge is to guarantee the quality and coherence of any additions and to preserve historic landscapes. It is also crucial to ensure public acceptance of revitalization efforts. Open architectural competition might be a reliable means of delivering viable results, as demonstrated by the recent construction of a new military cemetery and restoration of the battlefield in Westerplatte in Gdańsk, Poland.

"ОЛЕННЫЕ" КАМНИ, ИСПОЛЬЗОВАННЫЕ ТЮРКАМИ: НОВЫЙ ВЗГЛЯД НА СОХРАНИВШИЕСЯ ИЗОБРАЖЕНИЯ (ПО МАТЕРИАЛАМ ИСТОРИКО-АРХИТЕКТУРНОГО МУЗЕЯ ПОД ОТКРЫТЫМ НЕБОМ ИАЭТ СО РАН)

Modern digital technology makes it possible to study the “deer” stones in detail at a new research level. However, certain difficulties arise when they have been redecorated at a later time. Such a situation is often observed when considering Turkic statues. Using the example of two finds from Tuva, which are now located on the territory of the Historical-Architectural Open-Air Museum of the Institute of Archaeology and Ethnography (Novosibirsk, Russia), a complex of methods was implemented that allow to reproduce the images, which refer to different periods of their creation. This approach was reflected in the given illustrations and allowed to carry out the comparative analysis with results of the previous fixations. Performed photogrammetry provided the creation of 3D models, as well as obtaining the necessary characteristics and parameters.

Can the Museum Be an Agent of Social Change? A New Model of the Functioning of the Museum in the Twenty-First Century

A large group of scholars believe that, in the face of an increasing awareness of global challenges, the mission, role, values and responsibilities of museums as institutions require radical rethinking and transformation. In 2016, at an ICOM conference, Mário Moutinho suggested that the category of new museology be broadened towards sociomuseology as a school of thought, whose task is to integrate efforts to adapt museum structures to the present-day reality, to achieve a new level of autonomy for museums, and to open museums to the social context. The philosophical basis for this movement is the idea of participation, and its goal is to create a network of institutions, communities and individuals whose objective is sustainable local development. This approach to museum activism means modifying the tasks the museum undertakes as a civic institution, and the new model of its operation is aimed at real political, social and environmental change. The concept has met with criticism from researchers and museologists who believe that the museum should preserve its identity and focus on its traditional tasks. By giving examples of similar activity conducted by some Polish historical museums the author offers answers to the question of whether and to what extent museums in the twenty-first century can and should adopt this new model in order to truly influence their environment while, at the same time, preserving the functions of an institution whose role is to protect national heritage.

DEVELOPING A VIRTUAL OPEN-AIR MUSEUM OF VERNACULAR ARCHITECTURE

Vernacular architecture is an integral part of the national cultural heritage. Today, however, many of these buildings exist only on old plans or photographs and the average citizen has no opportunity to get acquainted with this part of the national identity. Therefore, in our work, we present the development of two web applications with the aim of creating a virtual open-air museum for presenting vernacular architecture in the Czech Republic. The applications were created using open-source technologies, and are implemented with methods that allow easy transfer from one operating system to another. The presented content is a carefully selected sub-sample of more than 10,000 available records representing all regional types of vernacular architecture. The result is one application designed for editors to manage the presented content and one application allowing interactive viewing of the available geo-located records designed for the general public. Individual records can be searched either directly using the map window or by querying the attribute table. These records contain descriptive information about the object, as well as historical photographs and plans and, for some objects, additional information in the form of 3D models, PDF documents and other files. The applications are designed in such a way that their content can be freely expanded in the future and thus contribute to the popularization of vernacular architecture among the general public, which was the main reason for their creation.

Readdressing the Painting Programme of the Church of St. Barbara in the Göreme Valley, Cappadocia

The article focuses on the Church of St. Barbara in the Göreme Valley in Nevşehir, Cappadocia. Today the church is within the borders of the Göreme Open Air Museum which is a cluster of many churches, refectories and additional units. The church is unique with its architectural plan and elaborate nonfigurative elements in red ochre. Painted panels of a secondary phase do not cover up this red paint decoration but they are on the already-vacant parts of the naos. Remarkably, almost all motifs differ from each other in detail or in form. Furthermore, certain compartments of the building are reserved for certain motifs. Thus, it becomes clear that ruddled motifs and compositions can be named as parts of a ‘red ochre painting programme’ in which they are hierarchically arranged in the naos and each of them gain their specifical meaning thanks to the detailing. Such a programme must have been comprehended by the first users and accepted and vindicated by the painters of the second layer. The only church exactly similar to the Church of St. Barbara in its plan type is the Çarıklı Church in close proximity in the same museum. It is interesting that the churches exactly similar in architecture but totally dissimilar in painting programme are coexistent in the Göreme enclave on whose institutional organization so little is known. Still, that the panel paintings did not cover up the detailed red paint decoration indicates that the ruddled programme was approved or appreciated by the hierarchical order of the Göreme enclave. This study intends to examine the nonfigurative repertoire of the region, the architectural plan of the church and intends to shortly evaluate iconoclast and iconophile way of thought on figural imagery. By doing this, the study aims to comment on the meaning the church had in the Göreme circuit, and to hypothesize on the congregation who used the church.

Moara hidraulică cu roată verticală și aducţie superioară a familiei Cojan din localitatea Covasna, jud. Covasna/ Hydraulic mill with vertical wheel and top feed of the Cojan Family from Covasna, Covasna County

In the Black River basin there has been an impressive number of grains milling installations over the years. Among them is the mill of the Victor Cojan Family in the old village Voinești, nowadays part of Covasna town, Covasna County. Built at the end of the 19th century by Ion Cojan, the hydraulic mill with a vertical wheel and top feed was part of the series of grain milling installations built along the Covasna River and was the last to operate in the locality of the same name. The mechanism of the mill, similar to those found in other areas of Transylvania, consisted of a vertical wheel with cups, which transmitted the movement to the horizontal spindle on which was the wheel with the grinding wheels, which set in motion the vertical spindle fixed in the running stone. The milling installation, which became part of the heritage of the National Museum of the Eastern Carpathians in 2001, will be included in the exhibition plan of the future Open-Air Museum in Covasna.

The City on the Rails

The research focuses on the application of the elements of the theory of linear urbanism to the current solution for the rural settlements, from which life is lost and they are becoming open-air museums. Rural settlements are currently experiencing a crisis, most of their residents are moving to the big cities for work and in order to improve the quality of their life. This work is inspired by utopian cities from the early 20th century, such as The Roadtown by Edward Chambless, Plan Obus by Le Corbusier or Green City by Konstantin Melnikov. Similar tendencies as in previously mentioned works could be found in highly developed cities such as Tokyo. The book, “Made in Tokyo,” from Atelier Bow-Wow, has already mapped the use of those utopian tendencies in Tokyo and tries to apply its forms to the existing typology of cities and landscapes. The aim is not to put all the functions in one conglomerate, but rather to create a superorganism within the country. The superorganism consists of several settlements with insufficient facilities. The settlements are interconnected by an already existing railway. The most important transformation is hidden in the utilisation of the transport infrastructure and in the further addition of the necessary facilities in such a way that the individual necessary facilities within the linear composition can be shared between multiple dwellings. The presented paper uses an artistic research approach, using the method “research by design”. It is an applied (practical) normative research, which relies on the theory of linearity and the theory of the garden city and their radical and coherent design concept. The starting point of the research is a critical look at the current methods of chaotic construction in protected landscape areas in Slovakia. It uses the Margecany-Červená Skala site as a case study to demonstrate how linear theory would work in the present day, using Geographic Information System (GIS) data to analyse the site. The main goal of the project is to bring back the attractiveness of the region with the usage of contemporary artistic concepts, technologies and strategies.

Traces of disappearing heritage: upcycling of wooden vessels preserved in the vernacular architecture of a large river valley in Central Europe

AbstractThe article presents a trend in rural and small-town architecture, in central Poland, consisting in the reuse of material from river-going vessels. As part of the research, twenty objects (existing and non-extant) were identified that had been constructed using material from wooden vessels that had navigated the Vistula River in the past (nineteenth and twentieth centuries). There was also a reinterpretation of the origin of construction material from a farm building that had been moved in the 1980s from near the Vistula to one of Polish open-air museums. The results indicate that these are probably the last material traces of a boat mill that operated on the Vistula in the late nineteenth century. Also, many preserved millstones embedded in buildings located near the Vistula seem to confirm this conclusion.

Measuring Roof Coverings of Vernacular Architecture in Open-Air Museums. A Long-Term Approach for Sustainable Intervention Work

Abstract The purpose of this article is to examine how modern techniques of measurement and visual representation using ICT can aid in the assessment and preservation of wooden architectural landmarks in open-air (folk-life) museums. By developing a general understanding of vernacular architecture, experts can more effectively plan for maintenance and large-scale interventions to protect these structures. Specifically, the article focuses on the use of photogrammetry to assess and diagnose roof coverings, which are a crucial component of vernacular architecture. Roof coverings not only impact the aesthetic of a building but also play a significant role in its function. As they often reflect local customs and beliefs, they are essential to a community's cultural identity and sense of belonging. Measuring roof coverings in vernacular architecture sites can be challenging due to the availability of materials like thatch, clay tiles, or wooden shingles, and the negative impact that a degraded roof can have on the overall state of a building.

Polish ethnocultural landscape of Podillya: structure, use, protection of cultural heritage

Introduction. The study of the structure and features of the ethnocultural heritage functioning is an important scientific problem, which is especially important for the implementation of regional and national strategies for sustainable development and optimization of the quality of the country's environment. It is also important to solve the problem of traditional natural resource management of Podillya as a part of Eastern Europe, where a retrospective polyethnic development vector was formed, which has manifested in the formation of the Polish ethnocultural heritage. Problem formulation. The importance of professional analysis of assessment and assessment of ethnocultural landscape resource potential is based on justification of its future effective use, particularly, in the design of a regional network of ethnocultural protected areas, which aligns with the concept of sustainable development of Ukraine. Analysis of recent research and publications. Eastern European geographers have been developing the concept of the ethnocultural landscape since the end of the XX century and the following directions have been formed: 1) ethnocultural landscape is analyzed as cultural landscape; 2) ethnocultural landscape in anthropogenic landscape studies; 3) protection of ethnocultural artifacts; 4) as a part of humanistic geography. Highlighting previously unsolved parts of the overall problem. These studies will make it possible to evaluate the degree of Polish ethnocultural heritage influence on tourism development in Eastern Europe. This will allow to development of practical recommendations for the preservation and use of ethnocultural heritage in modern socio-economic conditions, the implementation of targeted programs involving EU funds. Formulating the purpose of the paper. The study aims to study the problem field of individual components of regional ethnocultural landscape science, its theoretical and practical potential, and its use in solving problems of nature management, namely Polish ethnocultural landscapes and relevant cultural heritage. Presentation of the main research material. The general regularities of formation of the estate, fortification and industrial landscapes, their ethnocultural features, and features of management are allocated. Proposals for optimization and intensification of nature use of Polish ethnocultural landscapes through protection and museification (regional landscape parks, open-air museums) of Polish historical and cultural artifacts of the region have been formed. Polish ethnocultural landscapes of Podillya are analyzed as an object of ethnocultural tourism. Thus, they will preserve biodiversity, create a basis for a harmonious combination of environmental and educational activities with the opportunity to get acquainted with the Polish historical and cultural heritage of the region. Conclusions. The unification of Polish ethnocultural artifacts in the villages and small towns of the region contributes to the transformation of heritage into a tourist product, which leads to interest in the preservation of monuments, increases the number of visitors. Given the number and spatial distribution of Polish heritage sites in the region, the creation of a landscape cadastre is one of the top priorities in addressing their protection and monitoring. Ethnocultural objects of Polish origin are usually the core of the planning structure of small towns or villages in the region. When attracting funds from Polish and Ukrainian investors, a profit that will significantly exceed the invested funds is possible. Ethnocultural heritage is one of the priorities of international tourism in the world's leading countries.

The evolution of museum culture in Botswana towards multi-layered architectural heritage conservation

The role of museums in Botswana has evolved from collecting ethnographic objects and exhibition development to architectural heritage conservation. This paper explores the evolution of museum development through case studies of the National Museum in Gaborone, a regional museum Phuthadikobo Museum in Mochudi, and a privately-owned Botswana Telecommunication Cooperation (BTC) Museum. The study examines exhibition practices in these museums by discussing the limitations of traditional methods of exhibition and argue in favour of a multi-layered exhibition method. Both the National Museum and Phuthadikobo Museum have now transformed into cultural institutions which now undertake architectural heritage conservation projects. These project are include the national museum project which re-creates three huts representative of vernacular architecture of different tribes which we argue is a heritage-making project. The Phuthadikobo community museum proposal for an open-air museum that conserves the existing buildings in-situ and addresses the intersection of heritage conservation, a sense of history, intangible heritage, and lived traditions. Situated within the debates on museum development and heritage conservation, the paper considers how museum development in Botswana could address the challenges of museum exhibition and the questions on heritage authenticity.