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Fig. 2. Multimedia kiosk. Apollo from Pompeii, Villa Getty, Los Angeles, US. given by the “Sonorous pathway” - a set of natural, traditional and historical sound will accompany the visitor during the walk (http:// www.paniloriga.comunesantadi.it/site/index.html). But there is the other way to look at the Information Communication Technology - technically - as the means of easy access to detailed information about the object, and physically and conceptually ICT is disconnected with object. In this case the interactive capabilities of the ICT are used as an interactive kiosk which allows visitors to explore the artefact more closely. Visitors going to these exhibitions want to appreciate not only the aesthetic terms but also to value the object from the historical perspective. Multimedia kiosks make easy the process of browsing more information about artefacts. Villa Getty, and specifically one its halls where the sculpture of “Apollo from Pompeii” is exhibited, is one of such examples. The exhibition presents scientific and technical analysis to show the newly conserved Apollo (http://www.getty.edu/art/exhibitions/ apollo_pompeii/). There is multimedia kiosk where visitors can independently examine the displayed object, learn about the process of its restoration (fig. 2). This exhibition is the illustration of interactive collaboration between computer technologies and museum exposition. The other sample of interaction between the archaeological exhibition and Information Communication Technology is the Chinese exhibition pavilion Expo 2010 in Shanghai. On the first floor of the pavilion in the hall “The River of the Wisdom” together with the enlarged and animated version of the scroll of “Riverside Scene at the Qingming Festival” (twelfth century, by Zhang Zeduan) the 108
archaeological collection of objects from ancient China is displayed. The displays are accompanied by the video that provide detailed information about the objects - how and where it was used in everyday life, with a certain presentation plot. Visitors, who watched this video had a chance to look closely at the objects, learn more about the meaning, function and symbology of the exhibits, in comparison with those who just had a glance at the objects. Information Communication Technology often stops people in front of the display to check the available information. “Because of its inherently powerful visual and aural characteristics, media can support and complement presentation and interpretation in ways that the object... alone may not be able to do” (Lynn, 1998). Conclusion Educational and cultural requirements of the society to the museum make it carry out the educational mission. The museum performs a dual function - it accumulates historical and cultural experience and transmits it to visitors. The process of information transmission is peculiar due to the fact that a museum exposition as a model of reality communicates not only facts but opinions, ideas, concepts, and attitudes through certain museum objects. Interaction facilitated the improvement of museum expositions enhancing the emotional impact on visitors, which helps to adjust to the museum environment. So, ICT is an extremely powerful tool and the amount of information which could be provided with the help of it is unlimited. But on the other hand the extra information settings are competing with the object itself and the choice should be arbitrary, and there is a danger of overwhelming. BiBliograPhy P. Palmyre, MUSTEL: Framing the Design of Technology-Enhanced Activities for Museum Visitors, 2007, at http://www.archimuse.com/ichim07/papers/ pierroux/pierroux.html S. MacDonald, The Politics of Display: Museums, Science, and Culture, Routledge, London 1998. S. Thomas, Mediated Realities: A Media Perspective in the Virtual and the Real in Id., The Virtual and the Real. Media in the Museum, American Association of Museums, Washington 1998. L. Basso Peressut, Musei per la Scienza, Edizioni Lybra Immagine, Milan 1998. 109
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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
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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 66 and 67: Sant Sebastià, where they were com
Page 68 and 69: Fig. 3. View of the musealization.
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Page 72 and 73: Fig. 2. Plan of the forum with its
Page 74 and 75: around the main temple and finally
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Page 78 and 79: Fig. 9. The Curia (photo by A. Goul
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Page 84 and 85: Fig. 2. The Great Hall of the Museu
Page 86 and 87: Fig. 4. Reconstruction of the exter
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Page 90 and 91: Fig. 1. Anastylosis of a section of
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Page 103 and 104: From Static Conservation to Dynamic
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Page 107: Fig. 1. Archeological observatory o
Page 111 and 112: Coverage of Chromatius Hall, Aquile
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Page 115 and 116: Fig. 1. The virtual recovery view o
Page 117 and 118: Fig. 3. The virtual view of Hanyuan
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Page 121 and 122: Unità di ricerca di Genova
Page 127 and 128: Unità di ricerca di Milano
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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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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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