Journal articles: 'Conservation and Museography'

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Marion, Marie‐odile. "The museography of craft techniques: an experiment in Mexico." Museum International 44, no. 3 (September 1992): 142–46. http://dx.doi.org/10.1111/j.1468-0033.1992.tb01047.x.

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Pinna, Giovanni. "Islam in the Arts: New Museography of Islamic Arts." Museum International 63, no. 3-4 (September 2011): 104–14. http://dx.doi.org/10.1111/muse.12011.

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Aulus, Audrey. "André Wogenscky and Marta Pan’s House Workshop: Thoughts on Conservation and Museography." Housing Reloaded, no. 54 (2016): 82–85. http://dx.doi.org/10.52200/54.a.81zu47d1.

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The aim of the Fondation Marta Pan — André Wogenscky is to promote the work of the architect and the work of the sculptor. Nowadays there are a lot of issues that arise regarding the accessibility and the museography of the house/workshop in Saint-Rémy-lès-Chevreuse. This house/workshop deserves a wider recognition and in that sense, before making any changes, the intervention has to be considered in the interest of the work's integrity. The house is a complex heritage object due to its conception made by an architect and an artist at the same time, evolving according to their needs and aspirations.

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Fedi, Fernanda. "Postgraduate course in museography and museology in the Faculty of Architecture of Milan." Museum International 39, no. 4 (December 1987): 261–64. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00707.x.

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Hernàndez-Cardona, Francesc Xavier, Rafael Sospedra-Roca, and Josep Ramon Casals-Ausió. "Virtual and didactic approach to the defensive heritage of the 16th century Fort of the Trinitat (Roses, Girona)." Virtual Archaeology Review 13, no. 26 (January 21, 2022): 103–15. http://dx.doi.org/10.4995/var.2022.15733.

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The Trinitat Fort, built in the mid-16th century, is an extraordinary example of European military architecture from the mid-16th century, conceived as an artillery machine, whose mission was to protect the natural port of Roses (Girona, Spain). The fortification had a long history of warfare that ended with the Peninsular War (1808–1814), which turned it into ruins. In 2002, the Roses city council planned an ambitious architectural intervention to recover the fortification. The works restored the overall exterior volumetry, with current construction materials. The large interior spaces resulting from the intervention had little in common with the original structures. Starting in 2016, the museum projected to open the fort to the public. The strategy focused on 3D works, which were used to plan museographic proposals and to make an interior space understandable, with an aspect very distant from that of the original construction. It entailed extensive fieldwork analyzing the sources and structural remains that were preserved and surmising the possible architectural solutions the fortress originally contained. Based on evidence and hypotheses, the group carried out a reconstruction from virtual archeology, and it developed a didactic iconography to explain the artifact to a broad spectrum of visitors and students. This iconography was applied on the panels, in the scenography and audiovisuals of the museum, and in the dissemination materials. The museography was implemented between 2019 and 2021. Considering the variables and comprehensive needs for a wide range of users and visitors, we completed the virtual archeology proposal based on realistic criteria, giving importance in 3D to textures and colors. It incorporated the anthropic and movable factors through matte painting techniques and images obtained with the support of re-enactment groups.Highlights: - The Fort of the Trinitat, built in the middle of the 16th century, is an extraordinary poliorcetic piece, conceived as an artillery machine, whose mission was to protect the natural port of Roses (Girona, Spain). - Between 2019 and 2021, an ambitious reconstruction of virtual archaeology has been carried out, developing a didactic iconography aimed at broad-spectrum visitors and formal education students. - The didactic iconography proposal developed in the Fort of the Trinitat does not try to compete with the large market productions, but it does try to explore sustainable intervention models to make the past and its heritage known.

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Vázquez de Ágredos Pascual, María Luisa, Rosa Herráez-Hernandez, Pilar Campíns-Falcó, Lucía Rojo Iranzo, and Ester Alba Pagán. "Color study of historic silks." Ge-conservacion 21, no. 1 (June 16, 2022): 246–56. http://dx.doi.org/10.37558/gec.v21i1.1133.

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The chemical characterization of silk textiles of historic value may be necessary to achieve a better understanding of the production processes applied, to evaluate their preservation, to detect manipulations or forgeries, and to value the combination of tradition and innovation in contemporary manufacturing techniques. The main objective of this work was to study four historical silks from the Garín collection, all of them from the 20th century, although with 19th century designs. To this end, non-invasive spectroscopic and microscopy techniques were applied in order to obtain information on the dyes used during their production and their link with those used in the silk industry in previous centuries, and to ascertain their state of conservation. Moreover, the images in LM, SEM and CM are contributing to the development of a 3D virtual loom that will favor more accessible and inclusive museography in museums specialized in the silk sector. Both the study of dyes and silk fibers and their virtual reproduction through artificial intelligence programs applied to the study of cultural heritage, by specialists from the Robotics Institute of the Universitat de València, has been developed in the framework of the SILKNOW project (https://silknow.eu/).

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González, Mercedes, Anna María Begerock, Yusmary Leonard, and Dina Faltings. "El despertar de la “Bella Durmiente”: pasado, presente y futuro de la Sala Egipcia del Museo Provincial Emilio Bacardí Moreau, Santiago de Cuba." Trabajos de Egiptología. Papers on Ancient Egypt, no. 11 (2020): 141–49. http://dx.doi.org/10.25145/j.tde.2020.11.09.

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The Egyptian collection of the Emilio Bacardí Moreau Provincial Museum, in the city of Santiago de Cuba, comprises a variety of objects brought from Egypt in 1912 by its founder, Emilio Bacardí Moreau. The only Egyptian human mummy in Cuba is exhibited next to the lid of an anthropomorphic coffin and the wooden base of another coffin. Additionally, many small objects like shabti figures, scarabs, a stela, coffin fragments and amulets are present. As Bacardí was not an Egyptologist, he also acquired quite a lot of counterfeits; besides, many of the exhibited objects are not properly labelled regarding their dating, context and function. Furthermore, the display lacks an adequate conservation system and a correct museography based on current international standards, concerning the exhibition of human remains. As part of the Cuban Mummy Project—a collaboration between the National Council of Cultural Heritage of Cuba (CNPC) and the Institute of Scientific Studies on Mummies of Madrid (IECIM)—and in cooperation with the Heidelberg Centre for Cultural Heritage (HCCH) of the University of Heidelberg (Germany), the correct cataloguing of all Egyptian artefacts is being undertaken, together with their appropriate display in a new exhibition layout.

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Toșa, Ioan, and Tudor Sălăgean. "Din istoria muzeografiei românești." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 166–238. http://dx.doi.org/10.47802/amet.2016.30.12.

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The authors present the less known activity held at the Transylvanian Museum of Ethnography from 1937 to 1957 towards: Research and Conservation of the Folk Cultural Heritage; Development of a network of ethnographic museums; Establishment of circles of ethnographic researches; Capitalisation through exhibitions and publications. For the research and preservation of the folk cultural heritage there were organised research and acquisition campaigns and there were made questionnaires for finding the buildings for the National park which unfortunately could not be completed because of the war, and after the war because of the political changes. The preservation and capitalisation of the folk heritage could be done successfully only by institutions and qualified individuals, so that the Museum intervened with the bodies of central and local authorities for the establishment of some museums or ethnographic sections in Iasi, Cernauti, Timisoara and Craiova and by ensuring qualified staff trained within the Department and Seminar of ethnography and folklore. An intense activity was made during 1939-1946 towards organizing Circles of ethnographic researches in the main cultural centres of the country, so that their union to re-establish the Romanian Ethnographic Society. The opening of the permanent exhibition in the building of Bărnuţiu Garden represented a very important moment for the Romanian museography by the implications it has had on the followings: the exhibition furniture, the theme and the exposure system, which represented a model for efforts of some institutions to present the collections of objects which they held between 1937-1940. The authors present then some aspects of Museum work during the refuge in Sibiu (1940-1945) and the difficulties for restoration of the building in the Park in order to organize the Exhibition following the model of the one in 1937. The change of political regime in 1947 coincided with the forced retirement of Professor R. Vuia. There are presented the attempts to continue in 1948-1950 the projects started after returning from refugee interrupted by the change of the director (May 1950) and of the staff (1951). In November 1951, by the Decision of the Committee for Higher Education, the Museum was passed to the Committee for Cultural Settlements, receiving the name "Historical-Ethnographic Museum of Cluj Region". In 1951, the Museum staff have drawn up a Directory for the organization of the new museum exhibition, which the authors, taking into account the fact that this is the only document on how a permanent exhibition theme is made, publishes in its entirety. The theme was sent to the Committee for Cultural Settlements that rejected and outlined the directions the exhibition named "The issue of living and evolution of the society beginning with human formation until nowadays " to be made. The intense discussions regarding the exhibition theme were held in 1953, after which it was established the thematic plan of the exhibition, which was opened on 24th of May 1955, for which it was made an illustrated guide that was to be printed in 1957.

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Toșa, Ioan. "Muzeul Etnografic al Transilvaniei și regii României." Anuarul Muzeului Etnograif al Transilvaniei 33 (December 20, 2019): 206–40. http://dx.doi.org/10.47802/amet.2019.33.13.

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The author presents several archive documents regarding the relations between the Transylvanian Museum of Ethnography and the Kings of Romania, providing useful information for knowing the Museum’s history. The first document presented is Decision 7487 of December 21, 1922, signed by Prince Carol; this Decision, by appointing Professor Romulus Vuia as the institution’s director, recognizes all the achievements of the Commission that Professor Vuia had established in the spring of 1922 for the purchase of A. Orosz Collection, in order to set up an ethnographic museum in Cluj. The article presents the List of objects to be collected for the Ethnographic Museum; in this list the first attempt was made to specify the notion of ethnographic object and to establish the field of ethnography as an independent science. In the next part of the paper, there are some documents showing the contribution of the Royal Foundation and of the Ministry of Arts and Religious Affairs to supporting Professor Vuia in the creation and development of ethnographic museography by establishing modern systems of evidence, conservation and valorization of the museum heritage. At the end of the article, the author presents several documents regarding the two visits of King Carol II to the Museum, the first visit in 1930, with the Queen Mother, and the second in 1937, when the Museum was inaugurated in the City Park building; the author also presents two photos taken during the visit of King Michael and Queen Anne at the Museum in 2008.

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Daszkiewicz, Piotr, Tomasz Samojlik, and Anastasia Fedotova. "THE EUROPEAN BISON OF THE MUSEUM OF NATURAL HISTORY IN PARIS AND THE HISTORY OF ZOOLOGY AND NATURAL HISTORY MUSEOGRAPHY IN THE XVIII AND XIX CENTURY." Kosmos 67, no. 4 (January 14, 2019): 703–7. http://dx.doi.org/10.36921/kos.2018_2406.

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This article presents a history of the European bison specimens preserved at the National Museum of NaturalHistory (MNHN) in Paris. The inventory made in 1945 by Jacques Millot, who first noticed the importance of these collections for the conservation of the species, constitutes a starting point of the present analysis. The oldest European bison of the MNHN collection came from the royal menagerie of Versailles. Louis Jean-Marie Daubenton was the first who has published a description of the species, four years before publication of Systema Naturae by Carl Linnaeus. Then Georges Cuvier, when working on the MNHN collections, distinguished the European bison from aurochs and compared it to the American bison. His research has contributed to the development of the notion of “extinct species”. This article presents also the history of the European bison from the Zoo of Cologne and the specimens from Petersburg, by Friedrich von Brandt, with a focus on the difficulties of obtaining specimens of the European bison in XIX century. European bison specimens from the National Museum of Natural History in Paris have played a particularly important role in the history of the species biology. They also offer an interesting perspective for genetic studies on the species.

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Mansour, Yasser. "The Grand Museum of Egypt Project: architecture and museography1." Museum International 57, no. 1-2 (May 2005): 36–41. http://dx.doi.org/10.1111/j.1468-0033.2005.00508.x.

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Barriendos, Joaquin. "Museographic Imaginaries: Geopolitics of Global Art in the Era of the Expanded Internationalism." International Journal of the Inclusive Museum 2, no. 1 (2009): 189–202. http://dx.doi.org/10.18848/1835-2014/cgp/v02i01/44560.

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Cilli, Elisabetta, Francesco Fontani, Marta Maria Ciucani, Marcella Pizzuto, Pierangelo Di Benedetto, Sara De Fanti, Thomas Mignani, et al. "Museomics Provides Insights into Conservation and Education: The Instance of an African Lion Specimen from the Museum of Zoology “Pietro Doderlein”." Diversity 15, no. 1 (January 10, 2023): 87. http://dx.doi.org/10.3390/d15010087.

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Innovative technological approaches are crucial to enhance naturalistic museum collections and develop information repositories of relevant interest to science, such as threatened animal taxa. In this context, museomics is an emerging discipline that provides a novel approach to the enhancement and exploitation of these collections. In the present study, the discovery of a neglected lion skeleton in the Museum of Zoology “Pietro Doderlein” of the University of Palermo (Italy) offered the opportunity to undertake a multidisciplinary project. The aims of the study consisted of the following: (i) adding useful information for museographic strategies, (ii) obtaining a new genetic data repository from a vulnerable species, (iii) strengthening public awareness of wildlife conservation, and (iv) sharing new learning material. The remains of the lion were examined with a preliminary osteological survey, then they were restored by means of 3D printing of missing skeletal fragments. Phylogenetic analyses based on cytochrome b sequence clearly indicate that the specimen belongs to the Central Africa mitochondrial clade. At the end of the study, the complete and restored skeleton was exhibited, along with all of the information and data available from this project. This study shows a useful approach for the restoration and enhancement of a museum specimen, with important opportunities for preserving biodiversity and driving specific conservation policies, but also for providing Life Science learning material.

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Pierguidi, Stefano. "La ‘terza stanza de quadri’ in Palazzo Farnese nel 1644." Journal of the History of Collections 32, no. 2 (April 9, 2019): 265–73. http://dx.doi.org/10.1093/jhc/fhz016.

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Abstract L’articolo punta a stabilire il criterio museografico nell’allestimento della ‘terza stanza de quadri’ in Palazzo Farnese nel 1644, a partire dalla sorprendente presenza in quell’ambiente di molti disegni incorniciati accanto a dipinti su tavola a fondo oro di primo Quattrocento e a poche, importanti tele. Nella stanza era sinteticamente narrata la storia della pittura a Roma dal Quattro al Cinquecento, attraverso soli capolavori, di maestri quasi unicamente appartenenti alla scuola romana. This article aims to establish the museographic criteria involved in the display of pictures in the ‘third room of paintings’ in the Palazzo Farnese in 1644, beginning with the surprising presence there of many framed drawings next to paintings on panel with gold background of the early fifteenth century and with few modern paintings of great importance. Here the story of painting in Rome in the Quattrocento and Cinquecento was synthetically narrated through masterpieces belonging almost exclusively to the Roman School.

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Barrile, Vincenzo, Ernesto Bernardo, Antonino Fotia, and Giuliana Bilotta. "A Combined Study of Cultural Heritage in Archaeological Museums: 3D Survey and Mixed Reality." Heritage 5, no. 3 (June 21, 2022): 1330–49. http://dx.doi.org/10.3390/heritage5030069.

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Nowadays, a great interest in historical installations like museographic devices in international museological studies (capable of giving space form during user communication) is largely attributable to new techniques of immediate communication. Tools and libraries for virtual, augmented, and mixed reality content have recently become increasingly available. Despite its increased cost and investment, these are new ways for increasing visitor presence in museums. The purpose of this paper is to describe the potential of a tourist/archaeological application suitably developed and implemented by us. The application was developed in Unity3D and allows the user to view cultural heritage in a virtual environment, making information, multimedia content, and metrically precise 3D models available and accessible (obtained after a phase of reducing the mesh border), useful for obtaining good 3D printing reproduction. The strengths of our application (compared to the many already in the literature, which are also used as research ideas) stem from the possibility of using and easily integrating different techniques (3D models, building information models, virtual and augmented reality) allowing the choice of different 3D models (depending on the user’s needs) on some of which (again depending on the application needs) were tested and performed simplification and size reduction processes, to make the application loading phase faster and the user experience easier and better. Another application cue was to finalize an application to relate the elements of the museum with some archaeological elements of the territory according to historical period and element type.

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Journal articles on the topic 'Conservation and Museography'

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