Training course and expert visit exchange for the Yangon National Museum conservators and Architecture Universities Departments
Incontro organizzato da Sapienza Università di Roma e Italia-Birmania. Insieme.
organized by Dipartimento di Architettura La Sapienza Rome University and ITALIA-BIRMANIA.INSIEME
1 - For a museum history as a building
1a - Critical historical framework of the museum concept:
a modern architectural type.
history of the museum idea evolution and the definition as a Muses place.
From the Wunderkammer
(lack of systematization and method in the selection /collection) to a new
building idea, passing through the noble palaces Galleries.
relationship between works of pure aesthetic-contemplative type (the Antiquarium,
the gallery, the gliptoteca ...) up to the thematic explosion of
contemporaneity (... the museum of everything ...).
1b - The fundamental contribution of
Italy in defining the idea of a museum.
of the relationship with the presence of its immense historical-archaeological
historical sense of the past (Winckelmann). The emblematic Italian museums:
- the Capitolini Museum, the first museum in the world - (from the new building
to the refurbishment by Aymonino architect.
- the Vatican Museum (Pio Clementino and Braccio nuovo)
- The Uffizi.
The concept of a widespread museum: the heritage enhanced there, where it stays.
approach outside the museum.
as a pole within a network spread throughout the territory. (brief explanation.
of the museum's Metro C in Rome, as an example of a museum "outside"
- The museographic project themes
The basic issues that animate the
project of a museum: identification and comparative analysis through some
significant international experiences.
2a -Adaptable articulation of spaces:
master sequence; succession of ENVIRONMENTS = entrance / reception / spatial
sequence-path / spaces to support the visit.
2b - Space serving, spaces served.
increasingly important role of SERVICES in the functioning of a contemporary
restoration and conservation laboratories / educational workshops / museum
depots / technical and plant rooms; but also spaces and functions that
accompany the actual visit experience: bookshop, cafeteria, restaurant, spaces
for temporary exhibitions. Without these services the museum can hardly be
perceived and rise to a meaningful and shared role from the social point of
2c - Natural and artificial light.
relationship with places is intrinsically linked to the brightness of the sky of
that specific place.
the approach to the natural light management: the various phases and different
ways of working with light in the museum space: from the Dulwich gallery by J.
Soane, to the devices by Renzo Piano up to the "painting" windows by
light and the construction of the timeless space of the encounter with art
(contacted Guzzini for technical materials).
2d - Plant systems and linings.
Plant issues as a theme of treatment and configuration
of the exhibition space. An apparently marginal theme compared to the
artistic-user object relationship and instead a fundamental question that
easily becomes a component of phenomenal-perceptual "disturbance".
2e - The art of presentation.
architectures for the exaltation of the value of cultural material.
The way in which a cultural material is proposed is
part of its significant bearing.
It is not
enough to put a find on a pedestal, or put
under a case, or correctly illuminate it, to make it "speaking".
In the human life experience the empathic dimension
find its place between space, objects and human being, which is the result of
the characteristics and qualities of the physical space within which we act. In
this sense, the figurative dimension and the stage presence of ostensive
systems is an essential part of this discourse.
3 - The staging of the
The great Italian museography and the interpretation of a given space: Italian
history as tangible expression of the stratification of human actions.
The urban context as a palimpsest.Many important
Italian museums are the result of a rereading and reinterpretation of the existing
architectural structures. In this sense, Italian museographic culture is bearer
of experiences that present extremely alive implementation methods, today when
the issues of consumption (of soil, of materials, of resources in the broadest
sense) are at all levels, part of the decision-making processes.
-Presentation of some past and new, but always up
to date, representatives of the Italian museographers of international fame:
Scarpa: the Venice Academy galleries; the Possagno Canova's gipsoteca; the
Castelvecchio museum; the Abatellis Palace.
Albini: Palazzo Bianco and Palazzo Rosso in Genoa; The San Lorenzo treasure
in Genoa; the Eremitani Museum in Padua.
Canali: the Pilotta Museum in Parma; the museum of S. Maria della Scala in
Siena; the Milan Cathedral Museum.
4 - The museum today: between conservation and storytelling
issues and the use of technological devices.
immersive reality and physical contact with the works.
importance of space as a place of encounter between cultural object and
explain while involving the visitors: the experiences of the CNR and of the prof.
Antinucci (the statues and epigraphs of the Roman National Museum).
5 Setting up a museum / setting up an
Degree of permanence and expressiveness of the fitting devices.
The exhibition can search for more
experimental formulas and expressive research, given its duration generally
limited in time.
It can also
propose a particular interpretative approach that makes the message more
engaging by forcing its perspective;
resulting reduced risks precisely
because they refer to a period of time that we know is short.
A museum exhibit, on the other hand, has a greater degree of permanency and
must be more careful and rigorous in presenting cultural materials;
it must have
greater communicative neutrality, without neglecting the seductive and
fascination capacity that must always be part of the physical experience of the
Museographic devices as components that equip the museum space;
the display devices as components that interpret the exhibition space
6. Some design and implementation
"high level" museums (the Rieti Art Gallery and archaeological site)
and the museums NON museums (S. Giovanni di Roma metro station - line C)
passing through the Itri (Demonetno-anthropological) Museum of Brigage and the
Ripi Energy Museum (educational) /scientific).
Narration of the thing and how the designs were
carried out; from conception to implementation.