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from ancient Rome, or other antique objects of arts. They would like to touch artefacts of material culture in reality. “The question of authenticity is central to everything we do in museums. It is what draws our quest for provenance and conservation, informing the selections we make for exhibition... These objects resonate deeply into our collective consciousness. Their physical presence lends their adjacent space significant cultural meaning. That connection to reality, that promise of authenticity, endows the museum with great authority, and it is an authority that we can borrow when we produce electronic media programs. This conceptual link to real collections lends to the electronic program both substance and authority. This connection clearly serves the museum’s traditional goals to conserve and interpret real collections” (Thomas, 1998). Archaeological exhibitions and museums invite visitors to appreciate objects of the cultural and material nature. A presentation of the exhibit accompanied by Information Communication Technology could be in two ways. First, we can look at ICT as a tool to contextualizing the object. Each object has its own communicative potential and context. However, this context is often ignored in archaeological expositions, and objects are frequently exhibited without a certain plot, outside the global context. The supportive information is given in descriptions or is explained by the guide. Still there are examples of exhibitions where objects are incorporated into the context available and intelligible for visitors. Thus, ancient Roman Villa Getty (California, US) was reconstructed (Villa dei Papiri, Pompeii, Italy) to present the archaeological objects within the historical context. Information Communication Technology, in its turn, can balance this situation to some extent. On the one side, they can visually / virtually impart necessary information to the visitor. Conventional approach to exposition arrangement in archaeological displays presupposes still-frame exposition. For example, if it is necessary to display the archaeological valuables, then the exposition is often a presentation of archaeological finds. However the application of contextual approach can make the exhibition more informative for visitors and provide to them “back ground information” about the objects. The project of the artistic-teaching-informative installation for the archaeological site of Pani Loriga, Santadi, Sardinia, produced by ATI (Temporary Enterprise Grouping of “Space”) and Studio 106
Fig. 1. Archeological observatory of the archeological site of Pani Loriga, Santadi, Sulcis Area, Sardinia, Italy (photo by Studio Azzurro Produzioni). Azzurro developed museum exhibition with multimedia settings to create the environment where visitors will be provided not only with the finds of that area but with contextualized objects. The educational need is clear: to create a link between material and immaterial world by organizing the immersive exhibition in archaeological site which consists of the indoor environment (archaeological observatory) and outdoor sonorous pathway. At a time when other archaeological exhibitions display simply the excavated artefacts, the archaeological observatory presents real finds accompanied by information and knowledge access in a traditional way (objects and text) and ICT settings (touch-screens, video, virtual interactive maquette station, archaeological periscopes) (fig. 1). In the company of finds arranged in the narrative way the visitor can find information about the site, land, and cultures which are organized in accordance with the traditional methods through the text. The interactive video station invites visitors to investigate the history and culture of the Pani Loriga - Phoenician and the later Roman settlement. They also can gain access to discover the place through a virtual maquette in touch-screen. There are 4 “archaeological periscopes” which foresee and survey the archaeological area before the actual visit, and provide extended information about it; they are complemented with the “archaeologist’s eye”, some cameras placed within the site, documenting the point of view of the archaeologist through the view of the in-process excavations and their records. So, artisticteaching-informative installation provides to the visitor the deepen information that is not obvious in either the archaeological objects or main text information. Extra contextualization of the exhibition is 107
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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
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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 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 and 104: From Static Conservation to Dynamic
Page 105: of showing particular application 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
Page 155 and 156: 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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