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eak-up of layers gives a view at covered secrets and at the same time new questions are coming up. So, in Herne, the main room narrative is the excavation site, and the objects in this site. In Chemnitz the room narrative is the layer of science in the landscape. The excavation site is still shown, but at least the work of archaeologists is more complex, and we try to show all these on the scientific layer. A modular floor bars the objects and gives a view of the secrets. But the conclusions on the scientific layers are in focus. The difference between the excavation layer and the scientific layer can also be seen in models, we elaborated. The dark area is the excavation layer; the objects will be shown very clinically and they are “only” a reference for the conclusions shown on the bright area. As well you can see, how the topography flows through the floor, and how that the scientific layer is lifted (we made numerous models and sketches - this year, we even finished a 1:1 model to discuss it with the client). Having a look onto the first floor: here you see the objects on the excavation layer and the visitors and content on the scientific layer. On this floor history and actual discussions to the climate are very important, on the other floors are other contents that stand for the whole floor and not only for a part of it. On every floor this overall content is visualized in a different way. Here on the first floor it’s just a changing light every 30 minutes, very slowly, so that every visitor can experience the climate changes. I hope I was able to give you an idea of the different ways to present archaeology and in conclusion, I just want to say, thank you for your attention. felix Becker Dipl.-Ing. interior architect. 2000-2001: interior architect in Büro vonJacobs, Stuttgart. 2001-2003: interior architect in Atelier Lohrer, Stuttgart / Muscat, Oman (Europäisches Gartenkunstmuseum Düsseldorf Benrath, Masterplan Misfat al-Abriyin, Oman). 2003-2005: interior architect in RaiserLopesDesigners, Stuttgart (shopdesign for Hugo Boss, JOOP!, Strellson, Féraud). Since 2005 project manager in Atelierbrückner gmbh, Stuttgart (Haus der Archäologie und Geschichte in Chemnitz, Loki Schmidt Haus in Hamburg, Römermuseum in Xanten, Bachhaus in Eisenach). 30
Fig. 1. “Part Alta” of Tarragona. Interventions in the “Part Alta” of the Roman City, Tarragona Jordi casadevall dalMaU Hello everyone, First of all, I would like to thank the organisation for the invitation to present our work and I hope that this will add to the conclusions of the session. The presentation I will explain is of a project that was carried out by a group of architects from 1990 to 2000 and which was commissioned by the Generalitat of Catalonia and the Council of Tarragona. The members of the group were the architects: Jordi Segura, Jordi Sarda, Xavier Romani, Estanislau Costa, Xavier Olivé and myself. The commission basically consisted of trying to establish a method or perhaps it is better to say the setting of certain criteria for the intervention in urban projects in the public spaces of the “Part Alta” of Tarragona, where the most significant part of the Roman legacy is concentrated (fig. 1). One of the objectives of the criteria was to show and explain to the citizens and non-expert visitors, the Roman heritage embedded in the fabric of the town. It is not a project based on some visible excavated remains but in fact a proposal about archaeological remains that are often hidden and in a few cases unperceived due to the current surface data. With a contemporary proposal, we also wanted that the work served to continuously qualify the different spaces of the historical area, always with a well defined objective. The criteria of the proposal had to be clear and simple, non dogmatic and openly flexible, to be able to incorporate at any moment the latest archaeological discovery that had been hidden from us in whatever street or square. The rich Roman heritage of the Part Alta is centered in an area delineated by the walls and sited on three stepped terrace platforms containing the Circus, the Forum and the Temple. 31
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Page 12 and 13: Foreword The PRIN Research Project
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Page 39 and 40: Multiple Interpretations, Technolog
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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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