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Fig. 2. Herne, Museum for Archaeology: Forscherlabor (photo by Susanne Wegner). a Neanderthal man, the visitor’s curiosity about the exhibits and the spatial context is awakened. The result is a dialogue between content and observer. The legendary controversy of the century among palaeoanthropologists concerning the descent of homo sapiens from Neanderthal man - now disproved by DNA comparison - is conveyed by an audio track which uses the theses, arguments and polemics of scientific opponents as a stereophonic background setting. In 2005 the museum became an additional attraction, the Forscherlabor. It is connected to the permanent exhibition. We think, the ways in which archaeology and criminology solve cases are closely related. As soon as the findings at the “scene of crime“ have been registered, the search for clues continues in laboratories and offices by using the proven and the most modern scientific methods. In the research laboratory of the Museum in Herne the visitor can actively participate in solving a “case”. Starting point is some skeletons, which were found in a large stone grave near Warburg. A section of the grave is in the centre of the laboratory. It consists of the remains of the dead and their gifts for afterlife such as amber jewellery, stone tools and ceramic bowls. Our task is to discover as much as possible about these people and their environment, using historical and archaeological, medical, physical an chemical methods - a fascinating, interactive journey of discovery into the world of contemporary archaeology In the middle of the space the “scene of crime” is on show, a reconstructed section of a dolmen, over which the archaeological finds hang in special finds bags. The find bags over the scene in detail. Fourteen “scientific containers” invite the visitor to carry out handson experiments and make use of integrated media station so that he himself becomes a researcher (fig. 2). The spatial setting in the form of a laboratory stands for the analytic procedures of archaeologists and symbolically illustrates their highly complex work. By way of this narrative space, self-explanatory access to the scientific archaeological process is enabled. In the research laboratory, graphics act as a contextualising element. The work in a laboratory and the associated technical equipment determine the atmosphere, design, surfaces and materials. Backlit glass walls covered in graphics demarcate the space and present an overview of themes at the same time. The graphics demarcate the space and makes references to the theme stations (fig. 3). 26
Fig. 3. Xanten, RömerMuseum: narrative room (photo by Wolfgang Günzel). Fig. 4. Xanten, RömerMuseum: translucent materials in the exhibition (photo by Wolfgang Günzel). The theme stations have several levels of detail and each present an archaeological method of investigation. Tying primary and secondary exhibits into the thematic context, the graphic design, both analogue and digital, illustrates the scientific methods with which the visitor approaches the crime. Text, image and object interact with each other during this process of gaining insight. Graphics become the integrating element. RömerMuseum, Xanten, Germany Roman master builders created monumental buildings. The unique architecture of the LVR-RömerMuseum provides a direct impression of their spectacular impact. It reflects the dimensions of the Roman Basilica Thermarum, the entrance hall of Roman baths, both inside and outside. (Architecture: Gatermann + Schossig, Cologne) The entrance hall was the biggest room of the baths and at the same time one of the largest buildings of the entire Colonia. It stood 25 metres tall on a surface area of some 70 x 22 metres. Today, 14 steel frames weighing 35 tons each rest on the Roman foundation walls. They support the entire museum building. The facade consists of vertical panels and windows that let in lots of pleasant daylight and offer scenic views of the Lower Rhine area. The museum’s facade and its red gabled tin roof seamlessly merge with the architecture of the Protective Building. The RömerMuseum in Xanten conveys the history of the Romans on the Lower Rhine - from the arrival of the first legionnaires to the development of the city of Colonia Ulpia Traiana and its decline in late antiquity. The new architecture makes it possible to present the exhibition on an open ramp system made of steel and glass (fig. 3). The routing of the exhibition has five chronologically arranged units that are differentiated from each other by a colour-coded sign system. At the beginning of each epoch, a cabinet in the form of a time capsule initiates the next period of time. Narrative spaces bring together theme clusters on platforms. Sight lines indicate comprehensive interrelationships. The extremely open space requires that all the designed elements be conceived in respect of several viewing sides. There are no rear sides in the classic sense but they are there, integrated in the overall design concept. High-quality, translucent materials do justice to the requirements for an open, flowing presentation (fig. 4). Let’s have a look through the entire exhibition: The exhibition ex- 27
Page 1: THE ARCHAEOLOGICAL MUSEALIZATION ed
Page 4 and 5: Published by Umberto Allemandi & C.
Page 6 and 7: 71 The Museographic Presentation of
Page 8 and 9: Unità di ricerca di torino 240 La
Page 10 and 11: I primi risultati della ricerca son
Page 12 and 13: Foreword The PRIN Research Project
Page 14 and 15: - Unità di Genova Il museo diffuso
Page 17 and 18: Oltre il Parco Archeologico: le esp
Page 19 and 20: Fig. 2. Carta del Salento con la di
Page 21 and 22: Fig. 4. San Vito dei Normanni, Muse
Page 23 and 24: Three Different Ways to Exhibit Arc
Page 25: Fig. 1. Herne, Museum for Archaeolo
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Page 35 and 36: Fig. 5. Plaça del Forum. Each type
Page 37 and 38: Fig. 7. Porxos Carrer Merceria. Pla
Page 39 and 40: Multiple Interpretations, Technolog
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Page 45 and 46: Fig. 3. Levels of meaning in an app
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Page 49 and 50: BiBliograPhy G. Abend, “The Meani
Page 51 and 52: Archaeological Museography: Present
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Page 55 and 56: well. They had recuperated and rest
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Fig. 4. Reconstructed ceiling of th
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Fig. 9. The Curia (photo by A. Goul
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templates other essential elements
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JoaqUiM MontUriol sanés Bachelor o
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Fig. 2. The Great Hall of the Museu
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Fig. 4. Reconstruction of the exter
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ing in opus spicatum, “cocciopest
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Fig. 1. Anastylosis of a section of
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of the second century BC heights, s
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Fig. 2. The musealization of the ar
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Fig. 6. The ancient entrance stairw
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Fig. 1. Main plan of the exposition
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Fig. 5. View of the internal path a
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From Static Conservation to Dynamic
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of showing particular application o
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Fig. 1. Archeological observatory o
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archaeological collection of object
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Coverage of Chromatius Hall, Aquile
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Fig. 2. Aquileia, coverage on the C
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Fig. 1. The virtual recovery view o
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Fig. 3. The virtual view of Hanyuan
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Fig. 5. Part of the foundation of t
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Unità di ricerca di Genova
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Unità di ricerca di Milano
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Unità di ricerca di Palermo
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Unità di ricerca di Roma
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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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