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Fig. 3. Plan of the Part Alta. Fig. 4. La Plaça del Rei. having its own individual design and positioning, therefore allowing the evolution and the outline of the Roman orthogonality to stand out, in contrast with the irregular alignments of the various historical superimpositions that had been continuously built in the city to date. As I have already pointed out, the basic element was to highlight the three topographic platforms of the Part Alta (fig. 2). The Circus, the Forum and the Temple The latter was the most easily readable, given that the space is occupied by the Cathedral, and where currently excavations are being carried out to document the remains of the Ancient Temple of Augustus. The Circus is noticeable at a glance by both the excavations and restoration of the portico of the head of the Circus and by the emptiness of the Font Square with the houses following the vaults of the steps of the Circus. The intermediate platform of the Forum was the most complex to expose due to its dense occupation in the Mediaeval Ages. We came to choose different types of stone because of their local and historical proximity and which were used according to some general criteria (fig. 3): 1. slabs and marble for restoration in the teMPle zone 2. grey marble (jasper marble) in the zone of the forUM esplanade 3. yellow calcareous stone (50 x 30 cm) in the circUs arena (the Plaça de la Font) 4. limestone - grey colour - in the external zones: A - Italian Travertine marble in the cryptoporticos of the Forum B - Spanish Travertine marble in the zone of the Circus visorium 34
Fig. 5. Plaça del Forum. Each type of stone would be applied all along its specific platform, to be able to identify at a glance the Roman period it related to. The dimension and placing of the stones would also indicate to us which platform we would be speaking about allowing us to orientate ourselves in relation to the Roman monuments. The first practical application of our work was concentrated in the urban spaces that by chance were located nearly always in the furthest opposing angles of the previously mentioned platforms of the Forum and the Circus. La Plaça del Rei Situated at an angle to the south of the Forum and beside the portico of the head of the Circus, the Square is dominated by the presence of Ancient Praetorium Tower (steps) - today the Museum - which was a means of communication between the Circus Platform and (that of) the Forum (fig. 4). The alignment of the Forum would coincide with that of the Tower and goes along Santa Anna Street. This trace crosses all the Square and shows the position of the cryptoportico of the Forum. The two categories of paving would reflect in a clear way those two realities: the extension of the cryptoportico with grey travertine and the esplanade with grey marble, with the pieces placed following the direction of the Forum’s longest dimension. The general paving of the Square tries to show what would have been the dimensions of the central esplanade of the Forum but with a flat neutral finish that allows for easy use for leisure for the inhabitants and visitors. 35
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 and 26: Fig. 1. Herne, Museum for Archaeolo
Page 27 and 28: Fig. 3. Xanten, RömerMuseum: narra
Page 29 and 30: Fig. 6. Chemnitz, Haus der Archäol
Page 31 and 32: Fig. 1. “Part Alta” of Tarragon
Page 33: Fig. 2. The three topographic platf
Page 37 and 38: Fig. 7. Porxos Carrer Merceria. Pla
Page 39 and 40: Multiple Interpretations, Technolog
Page 41 and 42: of even thousands of years were con
Page 43 and 44: a new trend prevailed, according to
Page 45 and 46: Fig. 3. Levels of meaning in an app
Page 47 and 48: ) kids as cUrators: Virtual galleri
Page 49 and 50: BiBliograPhy G. Abend, “The Meani
Page 51 and 52: Archaeological Museography: Present
Page 53 and 54: 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
Page 61: Paper
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
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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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