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Fig. 8. MAHE, proposal for Dama de Elche room. myth... and the rite... but the authorities decided that it was best to maintain the mystery about her origin. There was only one showcase in the centre of the hall and a sophisticated projection system (fig. 8). More than 300,000 people came to visit her, and sought to be her lord. And they did it in their own light with thousands and thousands of photographs... even more. They gobbled her up, they devoured her and they themselves became the Lady... Walter Benjamin said: “A man who concentrates before a work of art is absorbed by it. He enters into this work of art the way legend tells of the Chinese painter when he viewed his finished painting. In contrast, the distracted mass absorbs the work of art.” That is all! Thank you. david Pérez garcía Exhibition designer. Professor of the course “Design and Production Exhibition” at Instituto Superior de Arte i Art in Madrid. From 1995-1999 he was part of the design team led by Boris Micka; major works leaded the Science Museum of Castilla-La Mancha, the Archaeological Museum of Alicante. In 2000 he was co-founder, with Maite Page, of Creative Tiquitoc company dedicated to the development of museum projects. He performed the design work and creative direction of exhibition projects such as Genes y Alimentación for Nestlé installed in Coimbra and Aveiro, the Andalusian exhibition in Shima, Japan, the Archaeological and Historical Museum of Elche (MAHE), the Baile Flamenco Cristina Hoyos Museum in Seville, the Museum of Carlism in Estella, and the Iberian-Roman Museum of Monforte del Cid. Since 2009 he has been started to work independently with cultural companies in exhibition projects, organizing and directing multidisciplinary teams capable of solving all areas of design and communication involving the museology. He participated in major projects like the Museum of Human Evolution in Burgos. In 2010 Tiquitoc company becomes TQBásico seeking a return to basic principles of creation and exhibition experiences.- 60
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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
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 and 58: Fig. 2. MAHE, plan project. the wal
Page 59: Fig. 6. MAHE, interior of Museo Arq
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
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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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