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ut by focusing on four main points of explanatory information. At these points along the route have been placed four cubic volumes, whose function is to host the explanatory signs, part of the excavated objects and panels of the play in its various stages. Big boxes, that if not interrogated are off to constitute the elements not annoyingly noticeable and fading due to their treatment mirrored glass that make it lost behind the perception of different reflections (fig. 6). Using a small panel switch, the box responds to the questions of visitors, enlightening and revealing inside objects stored (fig. 7). In this way they become visible, recounting history through displays and embedded computer boards. The general scheme is organized for vertical strips, one at the main entrance to host the hall and common services (central strip), an other one placed on left angles along the main street, where are located classrooms and research rooms. And so on, looking for the right solution as required by public administration. The space of the ruins is a flexible volume, in accordance with the excavations and the still active researches. Result: balance and proportion in a museum where the old meets an evolving new. andrea ronzino Graduated at Politecnico di Torino, in Architectural Science with a thesis on Archaeological Musealization, Un-cover Un-tie Un-veil. Currently studying in the master program Architettura-Costruzione, with a thesis on Architectural Composition after a year (2011) at the Escuela Tecnica Superior de Arquitectura de la Universidad Politecnica de Valencia in 2011. He’s now working on a study of urban planning, consequently the selection and winning of a design contest with StudioAlessio, and the redesign of public space in Canelli, piazza Cavour, a project that will be completed and realized in 2013. 102
From Static Conservation to Dynamic Displays: Interactive Exhibitions in Museum Culture zinaida svestelnik, Politecnico di Milano Introduction Visitors come to museums in search of things; they are looking for real objects, pieces of art, and etc. The object conventionally occupies the most significant part in exhibition design in museums environment. Exhibition design can be compared to information environment for the object. This media (ICT - Information Communication Technology) has a supportive function: it transmits information to visitors. Currently, interaction is one of the most expressive, spectacular, and successful tools to develop exhibition design. One can ask “Why do we use ICT in a museum?” The answer is obvious - we believe that technologies are able to support learning and engagement with museums’ objects and artefacts. Evidently, collaboration between ICT and different types of museums are not the same. Technological approach or media programs that could be effectively used in the exhibition depend on “the learning object” which is often specific to type of the museum. Historical museums invite visitors inside their walls to learn “the cultivation of cultural, national, and personal identity”. Art museums are available to visitors with “perceptual and affective theories of learning (that) are intertwined with long traditions in aesthetics” (Palmyre, 2007). Science museums and scientific centres provide learning concentrating on relatively abstract scientific principles (MacDonald, 1998). The conceptual way of using Information Communication Technology is various in different types of museums. Although “the technology is / should be seamless, providing a convenient means of serving an idea... attributes of convenience and of transparency are essential” (Thomas, 1998). However, in science museums technologies are usually embedded, integrated with the exhibited objects or exhibition in general. In the art museums technologies are separated from the exhibits and occur like, for instance, multimedia 103
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THE ARCHAEOLOGICAL MUSEALIZATION ed
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Published by Umberto Allemandi & C.
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71 The Museographic Presentation of
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Unità di ricerca di torino 240 La
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I primi risultati della ricerca son
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Foreword The PRIN Research Project
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- Unità di Genova Il museo diffuso
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Oltre il Parco Archeologico: le esp
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Fig. 2. Carta del Salento con la di
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Fig. 4. San Vito dei Normanni, Muse
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Three Different Ways to Exhibit Arc
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Fig. 1. Herne, Museum for Archaeolo
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Fig. 3. Xanten, RömerMuseum: narra
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Fig. 6. Chemnitz, Haus der Archäol
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Fig. 1. “Part Alta” of Tarragon
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Fig. 2. The three topographic platf
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Fig. 5. Plaça del Forum. Each type
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Fig. 7. Porxos Carrer Merceria. Pla
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Multiple Interpretations, Technolog
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of even thousands of years were con
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a new trend prevailed, according to
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Fig. 3. Levels of meaning in an app
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) kids as cUrators: Virtual galleri
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BiBliograPhy G. Abend, “The Meani
Page 51 and 52: Archaeological Museography: Present
Page 53 and 54: of the reunion between our faith an
Page 55 and 56: well. They had recuperated and rest
Page 57 and 58: Fig. 2. MAHE, plan project. the wal
Page 59 and 60: Fig. 6. MAHE, interior of Museo Arq
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Page 68 and 69: Fig. 3. View of the musealization.
Page 70 and 71: of Heritage of the Etruscan Culture
Page 72 and 73: Fig. 2. Plan of the forum with its
Page 74 and 75: around the main temple and finally
Page 76 and 77: Fig. 4. Reconstructed ceiling of th
Page 78 and 79: Fig. 9. The Curia (photo by A. Goul
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Page 82 and 83: JoaqUiM MontUriol sanés Bachelor o
Page 84 and 85: Fig. 2. The Great Hall of the Museu
Page 86 and 87: Fig. 4. Reconstruction of the exter
Page 88 and 89: ing in opus spicatum, “cocciopest
Page 90 and 91: Fig. 1. Anastylosis of a section of
Page 92 and 93: of the second century BC heights, s
Page 94 and 95: Fig. 2. The musealization of the ar
Page 96 and 97: Fig. 6. The ancient entrance stairw
Page 99 and 100: Fig. 1. Main plan of the exposition
Page 101: Fig. 5. View of the internal path a
Page 105 and 106: of showing particular application o
Page 107 and 108: Fig. 1. Archeological observatory o
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Page 111 and 112: Coverage of Chromatius Hall, Aquile
Page 113 and 114: Fig. 2. Aquileia, coverage on the C
Page 115 and 116: Fig. 1. The virtual recovery view o
Page 117 and 118: Fig. 3. The virtual view of Hanyuan
Page 119 and 120: Fig. 5. Part of the foundation of t
Page 121 and 122: Unità di ricerca di Genova
Page 127 and 128: Unità di ricerca di Milano
Page 133 and 134: Unità di ricerca di Palermo
Page 139 and 140: Unità di ricerca di Roma
Page 147 and 148: Unità di ricerca di Torino
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Unità di ricerca di Genova Paesagg
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Dal rudere all’icona alessandro v
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della Città del Vaticano e non del
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Le polverose teche sature di piccol
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servizi accompagnato da prezzi non
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Fig. 2. Liguria. Strategie per il m
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together with non competitive price
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alessandro valenti Si laurea a Roma
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di un passato inteso come dato conc
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Fig. 3. Veduta di Dresda dopo il bo
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apporto tra la cultura museale e la
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Abstract The themes developed in th
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cheologici del Lazio, Politecnico d
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Fig. 1. Immagine storica del restau
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Fig. 3. L’intervento protettivo e
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Nella macro-area Contexts rientrano
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Abstract The intervention on ruins
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carola gentilini Carola Gentilini (
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espect for cultural diversity and h
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Fig. 3. Mappa dell’Atlantikwall (
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utilizzati per portare alla luce al
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BiBliografia Dividing lines, connec
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Michela Bassanelli Architetto, dott
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Fig. 1. Schema degli interventi pos
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al suo interno il tormentone, così
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Fig. 3. Schema del rapporto fra le
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1 Appartenenti al già dipartimento
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Unità di ricerca di Roma Allestire
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dell’astronomia. Le muse erano fi
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Fig. 2. Masterplan Spazi ipogei. de
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Fig. 3. Vista del margine da via An
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ventinus Minor, sono dislocate tre
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La struttura dei padiglioni è in s
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Fig. 5. Vista dell’accesso alle T
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Fig. 6. Vista dei percorsi del Frig
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nenti dell’articolato impianto at
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Fig. 7. Vista dell’Asse della cul
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e altimetricamente secondo un princ
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Fig. 8. Vista dello spazio ipogeo (
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Fig. 9. Veduta del Calidarium. Un v
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all’immagine reale e poetica, anc
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13 G. Jenewein, Die Architekturdeko
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lUcio altarelli Professore ordinari
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tura e pubblicazioni. Nel 2007 part
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- Studium snc, ricerche archeologic
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Research in Piedmont provides in a
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a un panorama variegato di interven
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ischia di andare incontro a una pro
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si veda il Museo del Paesaggio di P
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sinergie però possono e debbono es
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valeria MinUcciani Ricercatore pres
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Madama o il Museo Egizio, ma anche
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La musealizzazione di siti archeolo
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Fig. 2a. Torino, il settore occiden
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Fig. 4a. Torino, piazza San Giovann
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Un secondo stadio dell’intervento
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La musealizzazione di siti archeolo
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dell’impero fu dotata di una capi
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Fig. 2. Riproposizione in versione
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piano interrato del Castello, colle
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sotto della sede dell’Istituto ba
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Fig. 4. Area 3: vista dell’allest
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Abstract The “case studies” of
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Editors Marco vaUdetti Full Profess
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Il convegno internazionale svoltosi
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