Download ebook FREE - Allemandi

More documents

Recommendations

Info

Figs. 3-5. MAHE, the proposal for the four central zones. us. However, these work to identify the culture that had developed them. They are like external signs on the shipping containers. Inside, those containers would become showcases. The objects would unfold before the eyes of the viewer and be presented as a collection. It is themed museography in which the object becomes the protagonist. Graphic resources respond to the condition of the hypothesis. Individual drawings, like sketches, show daily scenes; copies of ornaments; illustrations of a scientific nature... we find 58
Fig. 6. MAHE, interior of Museo Arqueológico. Fig. 7. MAHE, interior of Museo de Historia. ourselves before a fragment of history and fragmented history. In other words, it is a scientific discourse. Nevertheless, when we turn history into narrative, the limits blur and are no longer clear cut. And we want to show this in the museum discourse. We decided that the thesis should be shown as a continual story, without fragmenting it. The space allowed us to offer a general view and with a single glance, we could understand the discourse. The objects here illustrate the narrative; they are part of the story. Words float round in the space, but only to place us... the images are alive, because they represent a reality, a truth. And that is the axis of the narrative of a human being, a human like you and I. With his or her hopes and concerns, with his or her customs, rites, with his or her objects, symbols and beliefs. Objects created with his or her own hands, covered with what we have called aura... objects that have even accompanied that person on his or her last journey... And that is how we have once again told the story, a few years later, in a small, new museum installed in Monforte de Cid, only a few kilometres away from Elche, where some of the objects on exhibit at the MAHE were found. However, this discourse would be impossible without the essential input of archaeologists and historians who, over the years, have uncovered, organized and studied thousands of objects. That is why we decided to use the prologue to honour the pioneers of archaeology and show the map of their discoveries. At the end of the route, in the hope that we have awakened the vocation in some of our young visitors, we will show you how things are done today... it is time to descend to the southern facade, which has become a great showcase. The wall that appears behind glass acquires another meaning. These are the oldest remains of the city and they take us to the palace, where we will tell you its story. Finally, our proposal was accepted. In its halls, the Palace houses beautiful objects that carry the history of the city. Some of them, no doubt, have been here before. They are objects that accompany the images with which our closest forefathers sought to leave a testimony of their lives (figs. 6-7). Images that we understand, that we comprehend, and therefore, are truth in themselves... with no need for interpretations... And the Lady? The Lady was just passing through, it was a visit. Only six months, nothing more. She stayed in the Keep; it could be no other way. We tried to recuperate her authentic aura, revive the 59
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 and 34: Fig. 2. The three topographic platf
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
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: Fig. 2. MAHE, plan project. the wal
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
Page 84 and 85: Fig. 2. The Great Hall of the Museu
Page 86 and 87: Fig. 4. Reconstruction of the exter
Page 88 and 89: ing in opus spicatum, “cocciopest
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 and 114:
Fig. 2. Aquileia, coverage on the C
Page 115 and 116:
Fig. 1. The virtual recovery view o
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 123 and 124:
Page 125 and 126:
Page 127 and 128:
Unità di ricerca di Milano
Page 129 and 130:
Page 131 and 132:
Page 133 and 134:
Unità di ricerca di Palermo
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Unità di ricerca di Roma
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Page 147 and 148:
Unità di ricerca di Torino
Page 149 and 150:
Page 151 and 152:
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
Page 165 and 166:
together with non competitive price
Page 167 and 168:
alessandro valenti Si laurea a Roma
Page 169 and 170:
di un passato inteso come dato conc
Page 171 and 172:
Fig. 3. Veduta di Dresda dopo il bo
Page 173 and 174:
apporto tra la cultura museale e la
Page 175 and 176:
Abstract The themes developed in th
Page 177 and 178:
cheologici del Lazio, Politecnico d
Page 179 and 180:
Fig. 1. Immagine storica del restau
Page 181 and 182:
Fig. 3. L’intervento protettivo e
Page 183 and 184:
Nella macro-area Contexts rientrano
Page 185 and 186:
Abstract The intervention on ruins
Page 187 and 188:
carola gentilini Carola Gentilini (
Page 189 and 190:
espect for cultural diversity and h
Page 191 and 192:
Fig. 3. Mappa dell’Atlantikwall (
Page 193 and 194:
utilizzati per portare alla luce al
Page 195 and 196:
BiBliografia Dividing lines, connec
Page 197 and 198:
Michela Bassanelli Architetto, dott
Page 199 and 200:
Fig. 1. Schema degli interventi pos
Page 201 and 202:
al suo interno il tormentone, così
Page 203 and 204:
Fig. 3. Schema del rapporto fra le
Page 205 and 206:
1 Appartenenti al già dipartimento
Page 207 and 208:
Unità di ricerca di Roma Allestire
Page 209 and 210:
dell’astronomia. Le muse erano fi
Page 211 and 212:
Fig. 2. Masterplan Spazi ipogei. de
Page 213 and 214:
Fig. 3. Vista del margine da via An
Page 215 and 216:
ventinus Minor, sono dislocate tre
Page 217 and 218:
La struttura dei padiglioni è in s
Page 219 and 220:
Fig. 5. Vista dell’accesso alle T
Page 221 and 222:
Fig. 6. Vista dei percorsi del Frig
Page 223 and 224:
nenti dell’articolato impianto at
Page 225 and 226:
Fig. 7. Vista dell’Asse della cul
Page 227 and 228:
e altimetricamente secondo un princ
Page 229 and 230:
Fig. 8. Vista dello spazio ipogeo (
Page 231 and 232:
Fig. 9. Veduta del Calidarium. Un v
Page 233 and 234:
all’immagine reale e poetica, anc
Page 235 and 236:
13 G. Jenewein, Die Architekturdeko
Page 237 and 238:
lUcio altarelli Professore ordinari
Page 239 and 240:
tura e pubblicazioni. Nel 2007 part
Page 241 and 242:
- Studium snc, ricerche archeologic
Page 243 and 244:
Research in Piedmont provides in a
Page 245 and 246:
a un panorama variegato di interven
Page 247 and 248:
ischia di andare incontro a una pro
Page 249 and 250:
si veda il Museo del Paesaggio di P
Page 251 and 252:
sinergie però possono e debbono es
Page 253 and 254:
valeria MinUcciani Ricercatore pres
Page 255 and 256:
Madama o il Museo Egizio, ma anche
Page 257 and 258:
La musealizzazione di siti archeolo
Page 259 and 260:
Fig. 2a. Torino, il settore occiden
Page 261 and 262:
Fig. 4a. Torino, piazza San Giovann
Page 263 and 264:
Un secondo stadio dell’intervento
Page 265 and 266:
La musealizzazione di siti archeolo
Page 267 and 268:
dell’impero fu dotata di una capi
Page 269 and 270:
Fig. 2. Riproposizione in versione
Page 271 and 272:
piano interrato del Castello, colle
Page 273 and 274:
sotto della sede dell’Istituto ba
Page 275 and 276:
Fig. 4. Area 3: vista dell’allest
Page 277 and 278:
Abstract The “case studies” of
Page 279 and 280:
Editors Marco vaUdetti Full Profess
Page 282:
Il convegno internazionale svoltosi
show all

Download ebook FREE - Allemandi

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?