Download ebook FREE - Allemandi

Fig. 5.
View of the internal
path and detail of the
prehistoric mines.
Fig. 6.
Image of one glass box
(off) and part of the
exposition.
Fig. 7.
The glass box (on) that
is transformed into a
shrine and makes visible
the objects found.
All photographs are by:
Mihail Moldoveanu,
already published in
On diseño, 287, 2007.
tion superimposed over the ruins. The functional space is structured
around the patio access that distributes and represents the orientation
pin on the western side of the plant (fig. 3). It consists, as requested
by the municipality, of a spaces of research and cataloguing, classrooms
and conference rooms, meeting point, recreational areas and
dining rooms. Reading the plant areas it’s evident the attention paid
to proportion the excavation area to the research spaces, than sends
the implicit message of need for coexistence of the two main functions
in this special museum: expose and divulgate, research and
study. The intermixing of these activities makes the museum not
only an institution for the divulgation, exhibition and interpretation
but, a closer look, setting an interesting example of interactive
museum. An unusual variation of interactivity, normally entrusted
to technology. In this case the interaction retrieves its etymological
meaning and set as a relationship between exposure and research
(inter-activity: activities in the middle of something). It’s a museum
that includes spaces arranged to visit it that we can define typical,
but that also connects evolving spaces, closely connected with the
research conducted in this site and that can be followed directly during
the visits, with different degrees of depth, based on the research
stage. To achieve the least impact and to try to limit the proportion
of built in relation to the ruins, the project is geared to structuring the
route of the museum with the declination of a slight walkway (fig.
4). Again it’s clear the intention to suggest and emphasize a sense of
provisional intervention, maintaining the consistency of the original
excavation. Stainless steel walkways that support a floor with strips
of wood. A journey that makes legible the different layers of the
ground, leaning on it and follow the lines of topography playing
with the odds and carry on to access the original ancient quarry.
It’s like being at the same time visitors of the museum, visitors of
the excavation and testing the experience to imagine themselves a
contemporary archaeologist. Also consistent with the suggestions
previously recognized, even the lighting plays a fundamental importance
in wanting to pursue and suggest the feeling of the atmosphere
of an archaeological dig. An external electrical system uses light
spots, placed again on small metal tripods, that follow the visit way,
like being in a space in constant change, where the lights are placed
where they are needed (fig. 5). The tour keeps an essence of simplicity
and cleanliness, without the inclusion of elements of exposure,
101