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kiosk (Palmyre, 2007). Above all we should say that the technical implications in the archaeological exhibitions are still quiet traditional, but anyway new technologies are coming into this type of museums as well. This paper focuses on exhibition Information Communication Technology in archaeological site and is aimed at identifying the tendencies. Historical overview The “collaboration” between interactivity and public spaces started in the first part of the twentieth century when interaction was used in Museums of Science for educational and social purposes (Basso Peressut, 1998). Initially, since its appearance the museum was associated with a “temple” due to the borrowing of aristocratic values and behaviour patterns of the first visitors in the eighteenth-nineteenth centuries. Elite aristocracy palaces, which were partially transformed into museums after the bourgeois revolutions in Europe, were accepted by the “third estate” that came to power as some sacral space with expensive and prestigious but odd works of art. In European traditions, the monarchs’ collections, which then were opened for public access, were ideological and educational tools to influence the public’s minds. Together with this, the language of museum messages had to correspond with the comprehension level of the public majority. Thus, a great number of untrained and less educated people that got access to museums in the nineteenth century required a number of changes in museums activity - from expositions rearrangements to explanatory texts attached to exhibits, catalogues, guid<strong>ebook</strong>s and the appearance of new museum occupations like: guides, museum educators, and interior designers. Traditionally, this method of objects display in museums is called passive or “hands-off” method (Gillian, 1998). Since 1960s and 1970s, the traditional concept of the museum interpreted as a “temple”, which lasted approximately two hundred years, was undermined. That period was the initial step to the “boom”: that was the time when it started to adopt new display technologies to provide most recent interactive experiments to their visitors. At that period interaction were mostly mechanical. This strategy was consumed by the Museums of Science and later by Science Centres. The most significant change was that instead 104
of showing particular application of science museums and scientific centres focused on abstract scientific principles (MacDonald, 1989). In particular, they started to present scientific principals through interaction. The Exploratorium, founded in San Francisco in the 1969, was one of such museums. The progress in multimedia technologies provides new perspectives for the development of various types of museums, not exceptionally for science museums that are ready to use the most advanced technologies a priori. Rapid development of Information Communication Technology inevitably overcomes and changes the existing ideas and opens new horizons for all kinds of expositions and museums, even for traditionally conventional and conservative ones. Interaction within museum culture: the archaeological issue Nowadays ICT are actively used to popularize material and nonmaterial cultural heritage and for cross-cultural exchanges. Access to cultural objects and artefacts via information technologies gives visitors unlimited opportunities for the introduction into the world culture in its diversity. On the one hand, it is possible to visit museum halls or watch the collection in virtual mode excluding travelling and queues. On the other hand, computer technologies embedded in displays and exhibitions allow interaction aimed at supporting artefacts understanding. Information Communication Technology today are applicable in archaeological expositions and halls in archaeological museums. Museums especially archaeological ones displayed visitors real artefacts, real works of art, real objects that are the base of the special kind of information. “Computers can expand, deepen and enhance the museum experience in a variety of ways... museums are centred in the real world, on the collection, conservation, and interpretation of the real objects. One of the central challenges facing museums is to utilize information technology without giving up our core identity: to embrace the virtual without abandoning the real (Mintz, 1998). Popularizing multimedia technologies in archaeological museums, as well as in other types of museums, helps to demonstrably inform a visitor about the object and offers the means of contextualizing it. However Information Communication Technology in such museums should be used rather considerately. Visitors in such exhibitions expect to see true artefacts, for instance, the remains of villa 105
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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
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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
Page 61: Paper
Page 64 and 65: There are several historical buildi
Page 66 and 67: Sant Sebastià, where they were com
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
Page 80 and 81: templates other essential elements
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 and 102: Fig. 5. View of the internal path a
Page 103: From Static Conservation to Dynamic
Page 107 and 108: Fig. 1. Archeological observatory o
Page 109 and 110: archaeological collection of object
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
Page 153 and 154: 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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