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Fig. 3. Aquileia, coverage on the Chromatius room, the large window in the north facade. Fig. 4. Aquileia, coverage on the Chromatius room, inside view, the mosaics and the sarcophagi. Fig. 5. Aquileia, coverage on the Chromatius room, view through the large window. narthex is displayed. The last fragment, lifted because adequate conditions and protection for in-situ preservation were lacking, has been joined to the portion kept in the Superintendency depositary which had been taken up by an engineer named Machnitsch before 1915 during the construction of the drainage system outside the church. The historical exhibits are completed by several broadly contemporary inscribed Christian sarcophagi, re-worked and reused, that were found in the Basilica complex and are strikingly displayed on slabs of grey Muggia sandstone (figs. 2-5). giovanni tortelli roBerto frassoni After graduating with Franca Helg at the Politecnico di Milano they work on the first educational experiences in the BBPR office, with Lodovico Barbiano di Belgioioso, and then in the Albini Helg Piva studio where - shunning from the seduction of the architectural trendy - they reach awareness of design by craftsmen, connected to reason of doing. Consistent with this approach they achieved national and international awards, resulting winners and then designers for the arrangement of the Valle della Petrosa at Lanciano, the restoration of the Loggia dei Mercanti in Genoa, The Intra’s Waterfront and Park, the Diocesan Museum of Vicenza, the Plazas of Patriarchal Basilica and the archaeological excavation at Aquileia. They take part in the debate on the role of contemporary architecture through university teaching commitments (in Milan and Genoa) and research project in a professional environment, at various scales, used mainly in historical and monumental. In the museum field and for exhibition design, beyond Brescia, for the Museum of St Julia, the domus dell’Ortaglia and “Vincenzo Foppa” exhibition, they are engaged on professional work in Genoa, for the restoration of Tesoro di St Lawrence, the extension of St Augustin and the exhibitions “L’età di Rubens” and “Sacra Selva” (Genoa 2004 European Capital of Culture), in Novara for the Broletto and Civic Museum, in Cremona for the Archaeological Museum, in Mantova for the excavations of Piazza Sordello. 114
Fig. 1. The virtual recovery view of Daming Palace (635 AD); from www. damingpalace.com. Communication with the Relics in Oblivion: Studying the Musealization of “Daming Palace Open-air Museum” in China xianya xU, Politecnico di Milano In 904 AD, a tremendous war destroyed one of the most glorious royal palaces in the history of China, the Daming Palace (635 AD). During the following thousand years, it had been demolished and forgotten. When the archaeologists discovered the relic in the centre of Xi’an, in 1957, only pieces of loam walls left. Citizens didn’t notice that they were building their homes upon the royal palace, until they were restricted to do more constructions upon their lands. At that moment, the development of the area was delayed for reasons. On the one hand, due to the inadequate technology and academic knowledge on preservation, government hesitated to inaugurate the reservation project. On the other hand, the citizen who lived on this precious land hardly appreciated the value of these relics under their feet, they took those ruins as the barriers to impede their life improvement. The controversy between the preservation and citizen livings had been lasted for fifty years, till 2007 the project of musealization started. Now there stands an open-air museum with materialized culture treasure as well as a central park for the city, coving 32 hectors. Daming Palace was built in Tang Dynasty (618-907 AD), which is the climax era in the history of China (fig. 1). It represents the peak intelligence of that period. At that time, Xi’an area was named “Tang Chang’an”, and the population reached to 500,000. There were three palaces in that city at the moment: Taiji Palace (583 AD), Daming Palace (625 AD), and Xinqing Palace (714 AD). Daming Palace was the most enormous and important among these three, it stood for the political heart of Tang Dynast, even the spirit of entire country. The Daming Palace was started in the spring of 635 AD, by the second empire of Tang Dynast, Li Shimin (599- 649 AD). In 626 AD, Li Shimin seized the throne by murdering his brothers and threatening his father empire, therefore, in the following years Li Shimin constantly felt guilty to his father Li Yuan (566-635 AD). He inaugurated the Daming Palace to the north 115
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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
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Fig. 2. MAHE, plan project. the wal
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Fig. 6. MAHE, interior of Museo Arq
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Paper
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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
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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
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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 and 106: of showing particular application o
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: Fig. 2. Aquileia, coverage on the C
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
Page 157 and 158: della Città del Vaticano e non del
Page 159 and 160: Le polverose teche sature di piccol
Page 161 and 162: servizi accompagnato da prezzi non
Page 163 and 164: 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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