Museum Architecture

5th INTERNATIONAL CONFERENCE ON HERITAGE AND SUSTAINABLE DEVELOPMENT

Throughout the development of the museums architecture, despite many advances and achievements of this architectural typology, there has been a gap between architecture and the museums environment. The microclimate that is created within a museum building, in particular in existing buildings, usually does not favor collections conservation. In Brazil most of museums are installed in historical buildings and the studies about the building influence in microclimate inside de museum are just beginning. The building is a passive agent of conservation but the architectural projects developed in traditional museums have not taken the performance of the building into account. It’s necessary to develop in Brazil more embracing and updated databases on temperature, humidity, lighting and others parameters to improve those projects. The application of bioclimatic strategies and environmental indicators in existing buildings can drive the internal microclimate in the direction of the preventive conservation needs, and the intentional creation of microclimate can harmonize museum architecture and museum collection, frequently thought as independent beings in Brazil.

Museen sind seit dem 18. Jahrhundert die privilegierten Orte der fremden, erstaunlichen, bewundernswerten Dinge in der modernen westlichen Kultur. Im 19. und 20. Jahrhundert kamen die Baudenkmale hinzu. "Denkmalpflege und Museen sind geborene Bundesgenossen", konnte deshalb Georg Dehio 1914 feststellen, eine für ihn "selbstver-ständliche, kaum noch zu weiterer Überlegung auffordernde Wahrheit." 2 Dass einige Bilderstürmer der Moderne Museen und Denkmale gleichermaßen aus der Welt schaffen wollten, zeigt ebenfalls, dass es sich um geistesverwandte Kulturinstitutionen handelt. Und doch hören sich die Stimmen derjenigen, die für die Denkmale einer-seits, für die Museumswelt andererseits verantwortlich sind, häufig anders an. Auf einer Tagung zu diesem Thema, die 1991 unter reger Beteiligung der Dresdner Museen und Denkmalpfleger stattfand, wurden bei aller Gemeinsamkeit der Anliegen auch Widersprüche und Interessenskonflikte benannt, die sich bei der Nutzung von Bau-denkmalen als Museen ergeben. Im Besonderen wurde dies für die Gruppe der Schlösser festgestellt. Diese sollen "als Kunstwerke […] optimal präsentiert, andererseits auch optimal konserviert werden. Sie sind somit präzise in die Kategorie der Museen einzureihen. Doch gerade hier liegt das Dilemma: Schlösser müssen zwar, können aber ihrer Natur nach nicht Museen sein." Deshalb bleibt das "Schlossmuseum […] ein Paradox: Gerade dass die Schlösser keine Museen sind, macht ihre Attraktivität aus."

PROCESSOS DE MUSEALIZAÇÃO : UM SEMINÁRIO DE INVESTIGAÇÃO INTERNACIONAL.
Ao longo do desenvolvimento da arquitetura de museus, apesar dos inúmeros avanços e conquistas dessa tipologia arquitetônica, houve um distanciamento entre arquitetura e as necessidades dos museus em relação às condições ambientais que se estabelecem no interior de um edifício de museu. Este artigo busca identificar metodologias de análise do ambiente climático em edifícios históricos de museus, de forma a aproximar as soluções arquitetônicas das necessidades de conservação preventiva dos acervos, com objetivo de alcançar sustentabilidade ambiental no seu interior. Pretende-se aplicar os parâmetros ambientais de temperatura, umidade e iluminação, definidos pelo campo da conservação de coleções museológicas, em instrumentos de projeto da arquitetura bioclimática, e fazer uma releitura destes parâmetros sob a ótica arquitetônica.

Para além de constituir um importante espaço de divulgação de conteúdos, hoje, a Internet funciona como veículo à construção de narrativas museológicas. A evolução dos museus em ambiente digital remonta aos anos de 1990 com os primeiros websites, mas passa por uma profunda transformação com a introdução das redes socias nas estratégias das instituições. Embora os websites estejam em constante atualização, são outras plataformas digitais, nomeadamente, Instagram, Facebook, Twitter e YouTube, que são eleitas como vias preferenciais da comunicação com os públicos. Na última década, as redes sociais tornam-se um território de ligações interativas e participativas entre os visitantes e os museus, através de conteúdos criados e partilhados por ambos. Assim, a apropriação da arquitetura em posts diários, através de reinvenções identitárias ou de características arquitetónicas relevantes como os percursos espaciais, a proporção e a escala, a luz, a sombra e a cor, geram um envolvimento subjetivo e reações emocionais por parte dos públicos, que estimulam a constante reformulação das estratégias comunicativas dos museus. A presente dissertação pretende, assim, investigar de que forma as audiências digitais se referem aos espaços museológicos, segundo um estudo focado em imagens, vídeos e comentários partilhados nas plataformas online. Neste enquadramento, estudam-se quatro museus com uma forte presença online e uma preocupação efetiva na interação com as

El museo se construye desde su instauración sobre la utopía de la reunión de todos los productos del conocimiento humano. Esta noción queda introducida en el debate generado por la Revolución Francesa. Es aquí donde el museo se sitúa en el centro de las discusiones arquitectónicas generando a su vez las poéticas que guiarán hacia la concepción icónica de estos equipamientos en época contemporánea y actual. Del mismo modo, la titularidad pública que los museos obtienen a partir de este proceso revolucionario sienta el precedente de la gestión de los mismos, que hoy, y con el foco trasladado a España, revela defectos de transparencia, tanto en el diálogo arquitectónico como en el económico e institucional.

(Abstract)
Since the very founding of museums, these have been built around the utopia of collecting all human knowledge. This concept has its start in the discussions generated by French Revolution where museums architecture had a main role. This debate will eventually generate the iconic cultural-conceived buildings that architects are projecting nowadays. Likewise, the museums public ownership obtained due to these revolutionary processes established a management model that today, in terms of Spanish museology, is revealing transparency mistakes, both in contemporary architecture dialogs and in institutional and economical approaches.

The Solomon R. Guggenheim Museum, designed by Frank Lloyd Wright (1943-1959) and the Museum of Unlimited Growth (1939), by Le Corbusier, are examples of the galleria progressiva, a type of architectural configuration containing sequentially uninterrupted spaces, emerged after the French Revolution, that generates specific sets of linear events and has the potential to guide the visitor's experience relying more on the building geometry than on symbolic or guidance artifices. In Wright's design visitors would take the elevator up and descend, on a leisure mode drift, through a fixed journey on the sloping plane, from which they would sidestep into exhibition rooms and then return to the skewed plane of the spiral gallery in the rotunda. In a similarly deterministic configuration concept, Le Corbusier designed a museum to be accessed from an atrium in the mid-point of the structure, from where visitors would take a ramp to the upper floor, occupied by galleries, laid out in a squareshaped spiral overlaid with a 4-axis cross, that could grow endlessly as more exhibiting spaces were needed. As part of a broader PhD research on visitors' engagement in the galleria progressiva museum type, the interest of this paper relies on finding clues on the morphology of the concepts by two of the most iconic architects in the twentiethcentury that might lead to their potential in facilitating engagement. To investigate morphological aspects, space syntax was used as the main theoretical ground, relying on justified graphs, convex, axial and visual analysis maps as topological representations of both spatial structures. Some of the key questions in future developments of this research are: Are both spiral-like configurations equally deterministic when it comes to route alternatives? Doe ones favor a more exploratory visit than the other? Which spatial system is easier to navigate? How does Le Corbusier's architectural promenade concept cope with an apparently very restrictive layout? By addressing these issues, we hope to revisit two important museum designs and, at the same time, bring light on the history of museum types by examining the galleria progressiva.

This literature review investigates the degree to which the practice of altering the function of an old building that, Cantacuzino (1989) underlines, is undeniably not new, has been considered in the literature until today. To do so, the studies are unavoidably originated in several diverse contexts: from architecture scholarships, to museum monographs, from historic frameworks, to museological analysis.

The paper not only outlines their spatial relations, but also gives a detailed analysis of two huge museum-related investments: Nowe Muzeum Śląskie (The New Silesian Museum) and Europejskie Centrum Solidarności (European Solidarity Centre). By discussing the objects’ relationship with their country, region, city and nearest surroundings the analysis gives an approximate idea of their economic, cultural and social importance. The study touches on such issues as ideological and spatial coherence, as well as on less obvious correlations such as those related to the prestige and the informative nature of museum architecture raised in postindustrial areas. 

W artykule, po zarysowaniu relacji przestrzennych, wnikliwie przeanalizowane zostały dwie wielkie inwestycje muzealne znajdujące się w na terenach o przemysłowej przeszłości: Nowe Muzeum Śląskie i Europejskie Centrum Solidarności.  Dzięki omówieniu kolejno w kontekstu kraju, regionu, miasta i kwartału, analiza przybliża ich wielowymiarowe gospodarcze, kulturowe i społeczne znaczenie. Opis odnosi się do elementów ideowej i przestrzennej spójności jak i tych zależności, które wydają się nieoczywiste np. do prestiżu i informacyjnego charakteru architektury muzealnej wznoszonej na terenach poprzemysłowych

Аналізується роль музеїв у суспільстві у процесі їхнього розвитку – від перших публічних до сучасних постмодерністичних музеїв. У цьому контексті приділяється увага ролі музеїв у створенні і розвитку ієрархії нових цінностей XVIII–XIX ст., створення канону музейної архітектури і його зв’язкам з поглядами на функції музею того часу. Окремо розглядається відхід музеїв від модерністічного архітектурного канону і розвиток сучасної музейної архітектури в контексті постмодерністичних наративних музеїв. Особливу увагу автори приділяють ролі архітектури у процесі формування і трансляції історичної пам’яті наративними музеями. Автори розглядають символізм архітектури як засіб передачі основної теми музею, а також на досвіді польських наративних музеїв показують важливість архітектурного планування в процесі створення музею і функціонування його публічної програми. Також автори зупиняються на ролі сучасної музейної інфраструктури для успішної конкуренції сучасного музею на ринку рекреаційних послуг.

The interventions in the built heritage seeking to insert cities in the globalised tourism circuits are a broad field of contemporary theoretical research. In Brazil, the Roberto Marinho Foundation has become an important agent for the creation of recent museums, by applying the perspective of the integrative design, that seeks to connect architecture, museography and content. This text will focus on the analysis of Paço do Frevo, an important case study on the application of this methodology for the treatment of intangible heritage. We intend to investigate the interest of private foundations in integrative design, reflecting about its possibilities and limits on the treatment of intangible heritage. The main documentary sources used were the architectural and museographic projects, complemented by the analysis of both museological plan and articles published in newspapers and specialised magazines in addition to the collection of semi-structured interviews of professionals responsible for the project.

Discussions about museum architecture and exhibition design have been widely developed in recent decades, considering the broadening of the musealization phenomenon and the insertion of the decades, considering the broadening of the musealization phenomenon and the insertion of the museum in the cultural tourism industry. The “narrative museum” (Crespi 2020) is a concept able to approach museum architecture and communication technologies, creating new spaces with
multimedia resources. This concept opens the opportunity of giving spatial significance to architecture through the synthesis established with multimedia technologies. The “spatial editing” is a concept transposed by the cinema universe which considers the multimedia narrative as a composition of controlled sequences, structured through different times and rhythms (Dzikean 2012). This concept,
however, differs from the modern understanding of the museum architecture as a container for changing exhibition designs, contributing to the creation of a neutral envelope for a flexible interior space (Montaner 2003). It is true that the multimedia museum opens not only the possibility to bring new themes to the museum space, but also to include a great amount of digital content at the exhibit
displays. However, the narrative museum often contributes to the plastering the exhibition design, which commonly face difficulties to incorporate new analytical perspectives to its original conception. In Brazil, this model was mainly incorporated through the worldwide known American exhibit designer Ralph Appelbaum, who had previous designed the Holocaust Memorial Museum and the Newseum, both in Washington. In Brazil, his main work is the Portuguese Language Museum, despite of other smaller contributions. This model reverberated in other exhibition design projects, often developed by Brazilian architects and designers, such as the Football Museum and the Museum of Tomorrow. This study will be based on the analyses of these main cases, contributing to the problematization of the proposed theoretical counterpart from the empirical analysis, investigating the relation between architects and designers in these cases.

Bu çalışmada, İstanbul Deniz Müzesi Ana Teşhir Binası incelenmiştir. İnceleme çalışması için bu binanın seçiminde iki husus önemli rol oynamıştır. Birinci husus, Beşiktaş Maliye Veznesi olarak inşa edilen binanın 1960 sonrasında müzeye dönüştürülmesinin getirdiği mimari olumsuzluklar, ikinci husus ise, aynı bölgede,  mevcut binayı da içine alacak şekilde planlanan yeni müze binasının inşa edilecek olmasıdır.
Çalışmada öncelikle Türk Deniz Müzesinin tarihçesinden bahsedilecek, İstanbul/Beşiktaş’ta bulunan İstanbul Deniz Müzesinin konumu ve yakın çevresi incelenecek, İstanbul Deniz Müzesi kampüsünde yer alan tescilli Ana Teşhir Binasının tarihinden bahsedilecek ve binanın mimari özellikleri irdelenerek mekanların analizi yapılacaktır.
Daha sonra, aynı bölgede inşa edilmesi planlanan ve Ana Teşhir Binasının da kullanımını öngören yeni Deniz Müzesi Projesi kısaca özetlenerek çalışmanın sonuçları ve değerlendirmeler ortaya konulacaktır.

Light is an essential element for the sustenance of life. It aids vision and thus functionality to the living creatures. Along with the functional aspects of Light, there are psychological and spiritual connotations of light and its counterpart darkness. People perceive light and darkness in many ways but commonly as positive and negative components respectively. In Architecture lighting is used for the functional purposes, however, in few cases it is also used for psychological reasons. Jewish Musuem Berlin is one such example where light and darkness is employed to convey the misery of historical past. This paper discusses the interpretation of light and dark on the psychological and spiritual dimensions across various cultures and subsequently narrates the design elements of Jewish Museum and psychological employment of light in its architecture in detail. The paper is based on the Authors visit to Germany in an DAAD aided exchange program in the year 2008. All the photographs are taken by the Author himself.

Museum buildings have clear behavioral functions; they also have symbolic functions, to express the privileged space and valuable objects they contain. Our ideas about what art museums should look like in the United States have changed significantly throughout the past 150 years of the building type’s history here.  In the 1990s, the number of museums built grew exponentially, and often these buildings are works of art in their own right.

This research looks closely at a recently-completed museum building in Denver, Colorado. Placed in a regional city in the middle of the United States, the Denver Art Museum explicitly wanted to replicate the success of the Guggenheim Museum Bilbao with its new wing, making the Denver Art Museum’s Hamilton Building the perfect site for an in-depth study of the Bilbao-era paradigm for museums, its connection to urban issues, and what effects the form has on art display. This case study utilizes a multi-method approach, with findings based on interviews with key stakeholders, archival data, and direct observations of the building and the spaces it creates.

From the beginning, the Hamilton Building had functions to fulfill beyond preserving and displaying art: it was to be its own fundraising tool, to represent Denver to the world and the Museum to Denver residents, and to draw cultural tourists in the same way that the Guggenheim museum drew tourists to Bilbao. As such, with a bond approved by the voters, the selection committee hired Daniel Libeskind as the primary architect, based on his personality, political savvy, and exuberant conceptual design.

The resulting building has few vertical walls or horizontal ceilings. It has galleries for the Modern and Contemporary, the African, and the Oceanic art collections, in addition to space for travelling exhibitions, a lecture hall, and a large museum shop. Across the newly-created Martin Plaza, a parking garage is wrapped in retail and residences; the parking garage was required by the city, but the wrapped functions were part of Libeskind’s plan for the urban spaces around the new building. In these ways, the Hamilton Building fulfills the explicit requirements of the bond.

The form of the building also fulfills more symbolic functions. Its image is used as one of six in an international marketing campaign to boost tourism to Denver. The grand opening drew crowds for 35 straight hours, and membership and first-time visits both went up during the first year the building was open, and the Hamilton Building is a recognizable icon and a landmark. The building is written about in the local, national, and international press, and while not all comments are positive, it does draw attention to Denver. The irregular spaces for art push curators and exhibition designers to be creative in how art is displayed, even changing art display tactics in the older, square-walled building. Artists generally like creating art specifically for the space, and one of the most successful shows in the building allowed visitors to watch art getting created and installed—an idea that was completely new to the Museum.

In conclusion, a new museum type has emerged, one where the building is as important as the art.  This building type serves as a fundraising and advertising tool, not only the museum but also the city.

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Design Rationale
The Filipino word “Likha” which means “creation” has been chosen as the name of the museum, for it resembles the process of bringing ideas into existence by means of expression or application of creative skill of imagination that in the latter would result into art. The museum was named in the national language, for the museum is mainly dedicated to the Filipino people and artists in order to both express and perceive new forms of Filipino art.
The art breathes life into the neighborhoods in which it is prominent. Artists infuse an area with creative energy and can play a significant role in urban revitalization efforts—bringing vibrancy to a community, enriching the quality of life and developing the creative workforce that is a hallmark of the 21st-century economy.
Bacolod as a cultural and economic destination in the country is a city that is vibrant and active in the art scene. One of the existing shortcomings of this highly urbanized city is not having a contemporary art museum with enough facilities to preserve and display art. With a lot area of more than 2.6 hectares, the proposed art museum is planned to fill the gap for the scarcity of function-oriented facilities and amenities such as exhibition halls, stores, restoration workshops, archival storage room, film screening room, function halls, multimedia research room and lecture halls taking into consideration the future expansion for the success of the museum.
The museum creates an environment that promotes creativity, expressing cultural aspects that may otherwise seem intangible, to become something that can be perceived. It gives the public an immediate access to advanced education about the arts, with the vision of bringing art to the community by means of publicizing art museums, particularly intended for the underprivileged youth.

Design Objectives
The objectives of the architectural design of Likha contemporary art museum are as follows:
1. To provide a venue with complete facilities that could accommodate the community’s present needs and future increase in demand for art related activities.
2. To provide a venue to continuously promote local art market, educational advancement, tourism and economic growth.
3. To provide a place for new art to evolve and encourage public interest in arts.
4. To create a market for higher learning by means of providing art education, and stimulate people’s creative potentials.
5. To design a museum that could become a symbolic element for the developing metropolitan city.

The Museum of Contemporary Art in Belgrade, joint work by Ivanka  Raspopovic and Ivan Antic, with expressive tectonics, rational geometric form, free plan, and interior that elevated visitors’ responses, set a benchmark for museum buildings design. The first prize on architectural competition held 1959-60 was awarded to team Raspopović and Antić. Museum, opened on October 20, 1965, is located in New Belgrade at the confluence of the Danube and the Sava rivers, facing the Belgrade Fortress.

Reconstructing the lost monuments of Antiquity became, after 1800, a complement to Europe's colonial imagination. Countless archaeologists and architects travelled to the East, excavated extinct cities, and shipped their finds to Europe for display in imperial museums.

Antiquity on Display is a critical biography of Berlin's Pergamon Museum and its popular architectural displays: the Great Altar of Pergamon, the Market Gate of Miletus, and the Ishtar Gate of Babylon. In this volume, Bilsel argues that the museum has produced a modern decor, an iconic image, which has replaced the lost antique originals, rather than creating an explicitly hypothetical representation of Antiquity. Addressing the dilemmas raised by the continuing presence of these displays, which embody the distinctive traits of the artistic and ideological programs of the last two centuries, Bilsel questions what the process of reproduction and authentication of Antiquity in the museum tells us about our changing perceptions of historic monuments. Documenting the process through which these imaginative reproductions of architecture were conceived, staged, and came to be perceived as authentic monuments, this volume offers an insight into the history of Berlin's Museum Island and the shifting regimes of the authentic in museum displays from the nineteenth century to the present.

Keywords: German Archaeology in the Middle East; Museum Reconstructions; Authenticity in Architecture; Architecture Museum; Architecture in the Museum; History of Berlin Museums; Berlin's Museum Island; the Great Altar of Pergamon; Post-colonial studies; Post-orientalist criticism; Alfred Messel, Wilhelm von Bode; Carl Humann; Theodor Wiegand; Robert Koldewey; Walter Andrae; the Altes Museum; the Neues Museum; the Pergamon Museum (Pergamonmuseum).

The widespread environmental historicizing and an outstanding heritage determined, in Italy more than in other countries, a particular type of museology practice which has been defined as the "internal museum", or rather the adaptation of historic spaces of exhibition spaces. This represented, and still does, a laborious search for a balance between monumental buildings and new uses, between antique collections and new users. A design study and practice of great interest. The museum in Italy, mainly thanks to the great museographical lesson of the Fifties (Franco Albini, Carlo Scarpa, BBPR, Ignazio Gardella and others), is the fruit of the condensation into a single theme of many aspects central to the architectural debate of this Century: the restoration, the conservation, the city's redesign and a new relationship with history.

Îndreptarea muzeelor către individ şi comunitate prin discursuri muzeale ce plasează în centrul abordării nevoile şi dorinţele vizitatorilor a condus şi la o serie de modificări ale arhitecturii interioare şi exterioare în spaţiul muzeal. Introducerea de funcţiuni noi, crearea unei legături directe cu spaţiul public sau chiar prelungirea acestuia în interiorul muzeului, cedarea de spaţiu în folosul comunităţii sunt câteva dintre transformările ce au avut impact la nivelul formei construite. Toate aceste tendinţe, însă, sunt deschise unor critici numeroase adresate atât de către experţi din domenii diverse (muzeologie, sociologie, arhitectură etc.), cât şi de către unii vizitatori. Pe lângă aceasta, deplasarea accentului de pe obiect şi expunere pe individ şi modul particular în care acesta experimentează şi interpretează expoziţia pune sub semnul întrebării rolul arhitecturii. Prin acest articol ne propunem să analizăm aceste critici aduse legăturii dintre arhitectură şi comunitate în spaţiul muzeal pentru ca, mai departe, să poată fi elaborate direcţii de dezvoltare care să răspundă necesităţilor actuale, fără a transforma muzeul într-un spaţiu strict al experienţelor şi consumului. Cuvinte cheie: muzeu, comunitate, spaţiu public, rol social

("For sample chapter and browsing see: http://www.palgrave.com/products/title.aspx?pid=530423).  In this project I reflect on how the Southern Cone postdictatorship generations reshape the collective memory of the dictatorial past through political activism and forms of artistic expression (cinema, literature, comics and photography). I situate their work at the intersection of the individual and the collective: it helps artists and activists elaborate traumatic events individually but it also has a profound impact at the collective level, and it is enabled by changes in the political context. Collective memory and intergenerational transmissions are key concepts for understanding these generations' emergence and contributions.
The first part of my study focuses on Argentina, where this generation’s public interventions have broadened social involvement in remembering the past and encouraged learning from it for the sake of the present. In that respect, this generation’s participation is instrumental in achieving an “exemplary memory” in Todorov’s terms: a memory that allows us to draw lessons from the past in order to actively deal with abuses and social conflict in the present, and deciding which kind of society we want to live in.
In the second part, I compare the exemplary achievements in Argentina with Chile and Uruguay, where political conditions are less conducive to genuine debate. The book is written for teaching, research and a non-academic readership."

Arheološki muzej u Splitu najstarija je muzejska ustanova u regiji osnovana 1820. godine. Njegova današnja zgrada građena je od 1912. do 1914. po nacrtima austrijskih arhitekata A. Kirsteina i F. Ohmanna. Koncipirana je kao centralno zdanje okruženo vrtom i natkrivenim trijemom predviđenim za postavljanje kamenih spomenika, tj. za lapidarij. U prizemlju je bila velika dvorana za izlaganje malih predmeta i stan čuvara dok su na katu bili knjižnica, uredi i stan ravnatelja. Takva koncepcija uvjetovala je nedostatak uredskih prostorija za buduće kustose i službenike Muzeja, što se naročito osjetilo nakon II. svjetskog rata. Osim toga, nisu bile predviđene nikakve prostorije za povremene izložbe. Sve je to postalo ograničavajućim čimbenikom razvoja i djelovanja Muzeja, pogotovo u odnosu na njegovu vezu s javnošću koju su sve više poticala suvremena muzeološka kretanja i shvaćanja. U radu su obrađene pojave koje su zapažane od vremena otvaranja zgrade za posjetitelje pa do danas. To se u prvom redu odnosi na zatvoren, odnosno slobodan ulaz koji stvara nedoumice posjetiteljima. Zatim je tu pitanje razgledavanja stalnog postava koji se prekida koncepcijski i misaono bilo da se prvo obiđe zgrada ili lapidarij. Sljedeće pitanje je prostor za povremene izložbe i manja predavanja te radni prostor za sve veći broj kustosa i ostalo stručno osoblje. Na kraju je riječ o depoima i problemu smještaja prevelikog broja muzejskih predmeta.

Adaptacja budynków sakralnych na cele muzealne w Polsce. Historia i skala zjawiska.
Transformation of religious buildings into museums in Poland. History and scale of the phenomenon.
Streszczenie
Czy desakralizacja obiektów zabytkowych dla potrzeb ekspozycyjnych to w Polsce zjawisko o marginalnym znaczeniu? Fakt, iż w powojennej Polsce odnotowano około ponad siedemdziesiąt podobnych realizacji sugeruje coś zgoła innego. W artykule przedstawiono chronologię, zasięg oraz strukturę zbioru obiektów adaptowanych. Spróbowano dotrzeć do przyczyn braku zmian w tempie rozwoju tego zjawiska pomimo wzrastającego zainteresowania zarówno tematyką desakralizacji, jak i tworzeniem alternatywnych przestrzeni eksponowania sztuki. Pośrednim celem poszukiwań było odnalezienie jak największej liczby kościołów, synagog i klasztorów, które posłużą do dalszych badań, co z kolei pozwoli w przyszłości na formułowanie bardziej szczegółowych wniosków.

Abstract
In Poland the desacralization of buildings for exhibition purposes may at first seem a marginal phenomenon. However, the fact that at least 84 such transformations have been carried out in Poland since WWII suggests something different. This paper aims at depicting the chronological development of this phenomenon, its scale and its architectural structure, i.e. the sort of buildings that have become adapted. It also tries to pinpoint the reasons why the pace of this process does not change even though nowadays both desacralization and search for new exhibition spaces are widely discussed topics. Yet another goal of this study.

La propuesta de esta investigación consiste en hacer un análisis de la percepción que el público de museos de arte tiene, durante y después de una visita, cruzando las miradas de las personas legas y de los arquitectos, con el objetivo de notar similitudes e incongruencias. Por lo tanto, primero son realizados estudios en el ámbito sociológico, en la psicología social, en la teoría de la arquitectura y en los más recientes estudios sobre museología; los cuales son utilizados como base para estudios de caso en dos de los más populares museos de arte de Rio de Janeiro: el Museo de Arte Moderna y el Centro Cultural del Banco do Brasil. Con estos estudios, serán extraídas conclusiones que determinan las diferencias en la percepción de la arquitectura y de la calidad de los museos, así como la intensidad con la cual la arquitectura de los museos alcanza a legos y a arquitectos.

Through a multidisciplinary reading of Rachel Whiteread’s research, this paper probes the ideas of space and architecture in contemporary art practices. A cross-study with Daniel Libeskind’s and Peter Eisenman’s works then fosters the reflection: Whiteread’s sculptures, justifying the absence with a presence, reveal the solidification of the empty. The paper seeks to draw up a historical flow connecting the concept of “dematerialisation” of the art in the sixties, with the current one of materialization of the invisible: it is not the art that makes itself invisible, but it’s the invisible that becomes art, by taking shape.

Few buildings have generated as much criticism on an international level as Frank Gehry’s Guggenheim in Bilbao. The architecture is either inspiring and transcendental, or chaotic and cacophonous; the building’s presence represents either oppressive American imperial dominance, or an economic catalyst bringing power to a nation absorbed by Spain. The confused dialogue and mixed reception beg the question: what is the measure of success for a newly built museum? A look at the context of this architecture project may unravel some of the complications surrounding this, Gehry’s most famous and controversial work.

http://www.etgraphiae.it/la-capostipite-di-se-una-donna-alla-guida-dei-musei-caterina-marcenaro-a-genova-1946-71/

http://www.libroco.it/index.php

Da Genova, la riapertura nel ’50 di palazzo Bianco, e successivamen-te degli altri musei, saldamente voluta dalle amministrazioni che si sono alternate in città, diventa il simbolo della ricostruzione del paese dopo la guerra e le macerie. Senza palazzo Bianco, Gardella forse non avrebbe fatto le sale dei Primitivi agli Uffizi, Scarpa, forse, non avrebbe fatto il Museo Nazionale di Palermo, e Albini non avrebbe fatto il museo del Cairo. Tra riallestimenti e restauri sono centinaia i musei che nell’Italia della ricostruzione riaprono, ma le prime pagine e le copertine delle riviste nazionali e internazionali sono sempre per quelli genovesi di Albini e della Marcenaro. Sono loro il simbolo della rinascita del paese. Dell’Italia del futuro che riparte e lo fa con la cul-tura. Il libro rivela particolari inediti di quella stagione internazionale della museologia italiana attraverso la ricostruzione della vita di una protagonista di questa storia, Caterina Marcenaro. A lei si deve la creazione del sistema dei musei civici di Genova, oggi patrimonio Unesco dell’Umanità.

An astonishing method of lighting and picture presentation for the time was trialed in Kassel around 1750: in the midst of the construction process of the Gemäldegalerie (Picture Gallery), the Landgrave of Hesse-Kassel, Wilhelm VIII, inspired by a Parisian collector, decided in favor of lighting from above and hanging the paintings on both long sides of the gallery.  This fundamentally changed the original function of the gallery with lateral light incidence and a new type of gallery was formed. This was to define the museum architecture of the 19th century and was significant for the institutional transformation from a royal collection to a modern art museum. The unconventional lighting and the discussions around it show that the paintings as works of art (and not as part of the royal decor) were central to the planning.

Oberlicht aus Paris: der Baustop der Kasseler Gemäldegalerie im Jahr 1750 als museumsgeschichtliches Ereignis
Eine für die Zeit erstaunliche Art der Belichtung und Bildpräsentation wurde um 1750 in Kassel erprobt: Mitten im Bauprozess der Gemäldegalerie entschied sich Landgraf Wilhelm VIII., angeregt durch einen Pariser Sammler, für eine von oben einfallende Belichtung und eine Hängung der Gemälde auf beiden Längsseiten der Galerie. Damit wurde die ursprüngliche Funktion der Galerie mit seitlichem Lichteinfall grundlegend verändert und ein neuer Galerietypus entwickelt. Dieser sollte die Museumsarchitektur des 19. Jahrhunderts bestimmen und war für den institutionellen Wandel von der fürstlichen Sammlung zum modernen Kunstmuseum signifikant. Die unkonventionelle Belichtung und die Diskussionen darum zeigen, dass die Gemälde als Kunstwerke (und nicht als Teil des fürstlichen Dekors) bei den Planungen im Zentrum standen.

The purpose of this paper is to discuss the role of contemporary architecture in heritage protection, reinterpretation and reuse, an issue that has become increasingly relevant due to the recognition of architectural heritage as a key factor for cultural and economic development.

RESUMO
Essa tese investiga a possibilidade de utilização de parâmetros de preservação de acervos museológicos em ferramentas de análise de arquitetura bioclimática e passiva, como forma de direcionar soluções de projeto de arquitetura de museus brasileiros adaptados em edifícios históricos e em clima quente e úmido. Busca interligar as áreas de conservação preventiva de coleções, de arquitetura patrimonial e de arquitetura sustentável, através de análises que permitam tomada de decisões compartilhadas na arquitetura de museus, a partir de indicadores obtidos em cada área. Inclui no Diagrama Bioclimático de Givoni, uma Zona de Controle Ambiental criada a partir dos parâmetros definidos pelo campo da conservação em museus. Esta zona serve para verificação do comportamento ambiental do edifício de museu em relação à preservação dos objetos museológicos. Foi realizado monitoramento pelo período de um ano das condições de temperatura do ar, umidade relativa do ar e nível de iluminamento em dois museus adaptados em edifícios históricos e em ponto utilizado como referência fora dos museus, através de três data loggers. Plota os dados obtidos no diagrama bioclimático criado com a inclusão da zona de controle ambiental, para identificar as condições do microclima em relação ao conforto ambiental dos usuários e ao controle ambiental para objetos, e gerar indicadores. Verifica a viabilidade de utilização de ferramenta de avaliação de arquitetura bioclimática, para necessidades de conservação preventiva de coleções. Verifica também a viabilidade de identificar interfaces capazes de unir procedimentos utilizados em cada área, apresentada em um diagrama conceitual. Conclui ser possível a utilização de ferramentas do campo da arquitetura sustentável como forma de avaliação das condições do microclima criado pela arquitetura antiga para a preservação de coleções, e indicar possíveis alterações no edifício antigo. Conclui também que a interligação das áreas pesquisadas abre diversas possibilidades de pesquisas no campo dos museus adaptados, tendo o clima como fio condutor.

Palavras chave: arquitetura sustentável, arquitetura de museus, patrimônio histórico sustentável, microclima, conservação preventiva.

                                                      ABSTRACT
This thesis investigates the possibility of using parameters for the preservation of museological collections in bioclimatic and passive architecture analysis tools, as a way of directing architecture project solutions from Brazilian museums adapted in historical buildings and in hot and humid climates. It seeks to link the areas of preventive conservation of collections, heritage architecture and sustainable architecture, through analyzes that allow shared decision making in museum architecture, based on indicators obtained in each area. It includes in the Bioclimático Diagram of Givoni, an Environmental Control Zone created from the parameters defined by the conservation field in museums. This area serves to verify the environmental behavior of the museum building in relation to the preservation of museum objects. One-year monitoring of air temperature, relative air humidity and lighting level was carried out in two museums adapted in historical buildings and in point used as reference outside the museums, through three data loggers. Plot the data obtained in the bioclimatic diagram created with the inclusion of the environmental control zone, to identify the conditions of the microclimate in relation to the environmental comfort of the users and the environmental control for objects, and generate indicators. Checks the feasibility of using a bioclimatic architecture assessment tool, for preventive conservation needs of collections. It also verifies the feasibility of identifying interfaces capable of joining procedures used in each area, presented in a conceptual diagram. It concludes that it is possible to use tools from the field of sustainable architecture as a way of assessing the conditions of the microclimate created by the ancient architecture for the preservation of collections, and to indicate possible changes in the old building. It also concludes that the interconnection of the researched areas opens several possibilities for research in the field of adapted museums, with the climate as the guiding line.

Key words: sustainable architecture, museums architecture, sustainable heritage, microclimate, preventive conservation.

The opening up of the museum towards the individual and community, through curatorial discourses that place in the center of their approach the needs and desires of the visitors, led to some changes in the interior and exterior architecture of the museum space. Introducing new services, creating a direct connection with the public space, or even prolonging it inside the museum, lending space for community use are few of the transformations that had an impact upon built form. All these tendencies, however, can be criticized by professionals from various disciplines (museology, sociology, architecture etc.), but also by visitors. Besides that, the shifting of the accent from object and display to individual and his peculiar way of experimenting and interpreting the exhibition questions the role of architecture. In this article we analyze these critiques addressed to architecture and its connection with the community in the museum space so that later one could elaborate evolutionary directions that respond to current necessities, without transforming the museum into a space dedicated solely to experiences and consumption.

The environmental concern is present in current architectural projects, however, one of the uses where the effect of the climate is more directly perceived is in museums. We have in museums the components of the collection conservation, the human comfort and the building interference in the environment.
In this paper we deal with the conditions set by the architecture in order to create a microclimate in museums, the aspects related to the environmental control through the use of passive methods, aimed to the preventive conservation of collections.
In Brazil there are about 3,100 museums. Three dozen of this universe are under IBRAM’s tutelage. This sample was considered representative of the Brazilian museum diversity and, for the purposes of analysis, divided into four groups. The first group consists of the great national museums, the oldest and largest institutions, which are installed in buildings of great historical importance and architectural proportions. The second covers medium-sized museums that occupy urban architecture. The third group is characterized by the occupation
of various architectural typologies such as churches, ruins and fortifications. The fourth group is composed of museum buildings built by recent architectures.
Within each of these categories we seek to highlight the treatment given to the preventive conservation.

Die Ars memorativa war im spätmittelalterlichen Krakau sehr populär. Das Fach wurde vertreten von ausländischen und polnischen Gelehrten, zum Beispiel: Jacobus Publicius, Konrad Celtis, Thomas Murner, Johannes Enclen de Cusa (Cusanus), Stanisław Korzybski, Antoni von Radomsko und Jan Szklarek. Man muss jedoch feststellen, dass Thomas Murners Lehrmethoden zur Logik noch nicht in Bezug gesetzt worden sind zu den mnemotechnischen Instrumenten der polnischen Franziskaner-Observanten oder anderer Gelehrter, die in Polen wirkten. Speziell ist der Traktat des Jacque Le Févre d’Étaples — abgesehen von einer Bemerkung von Gustav Bauch — noch nicht in seiner Eigenschaft als Inspirationsquelle für Murners Methode untersucht worden. Der Beitrag stellt die Logica memorativa als einen paradigmatischen Fall mnemotechnischen Methodentransfers zwischen Frankreich, Deutschland und Polen an der Wende vom 15. zum 16. Jh. dar.

The paper deals with museum depots, an increasingly important topic in the 21st century in Europe for both museum directors (due to the demanding management) and for architects who find planning a depot and an exhibition area equally challenging.
The introduction is followed by a timeline of the Antun Augustinčić Gallery development from its inception to the construction of the Studio. Despite inadequacy of some parts, the first building to house the Gallery, adjacent to the Franciscan monastery, proved to be of high quality. However, the changing mission of the Gallery led to new spatial requirements that had to be met within the urban structure of Klanjec. The least functional and completely inadequate was the
building of the old cinema that served as the Gallery
depot. Certain favourable circumstances, especially
the possibility of application for EU funds, created
an opportunity to construct a new building that would
house the depot of plaster casts and other sculptures
from the Gallery holdings, as well as provide space for educational and occasional exhibition programmes. As the Studio was built and began to operate, a careful evaluation followed based on the three perceptions
established by the British architect Ian Ritchie as methodological tools. Although this evaluation is summative, alterations and improvements are still possible, and the paper suggests how they could be achieved.

41st IAHS WORLD CONGRESS: Sustainability and Innovation for the Future
Abstract:
In Brazil, the large number of museums installed in previously existing buildings, produced by different proposals and architectural answers, have demanded frequent studies and evaluations to better facilitate their operations. One of the most important conflicts that need to be solved by architecture in a museum installed in historic buildings is caused by the inner microclimate created by the construction and its interference in the preventive conservation of collections. Additionally, we must respect the historic building because it is part of the heritage. It’s needed to develop an evaluation methodology that considers different interferences in the museum architecture in historic buildings, in order to have a tool for decision-making involving utilization requirements and the environmental performance of the buildings, aiming to use heritage to leverage sustainable development. To obtain the environmental indicators for museum in traditional buildings, it’s proposed in our ongoing doctorate the use the Bioclimatic Diagram, including recommended strategies to achieve conditions of environmental comfort. The environment control parameters for objects are included inside the zone of comfort. This Bioclimatic Diagram can also be used to assist corrections in buildings in order to achieve favorable conditions for environmental control. Besides these parameters, safe values of lighting for conservation of collections can also be plotted in a Tridimensional Diagram. Measurements of climate parameters (temperature, relative humidity and lighting) in three different locations, at the same area in the city of Rio de Janeiro, through dataloggers placed in two museums and one outdoor area, have also been conducted in our work.
The bioclimatic strategy has consolidated tools for environmental analysis that can be used for the development of sustainable museum architecture in existing buildings in Brazil.

This paper traces the building history of the Museum of Modern Art in New York from its founding in 1929 to current and future projects for expansion.  Looking at this history in parallel with the museum's mission and the growth of its collections, the evolution of the reception of modernist art is clearly manifest in architectural solutions adopted by the museum.  As the institution has shifted from making an argument for modernist art in a hostile art world to the stewardship of the finest collection of 20th century art, the architecture it uses to house these collections has also shifted from a radical museum architecture to one that is normative.  From a building program that challenged orthodoxy it has become one that establishes the canon that others follow.

« Trăim în epoca simultaneităţii: trăim în epoca juxtapu-« We are in the epoch of simultaneity: we are in the epnerii epoca lui "aproape" şi "departe", epoca lui"cot-la-och of juxtaposition, the epoch of the near and far, of cot" 'epoca dispersiei.» (Michel Foucault) the side-by-side, of the dispersed.» (Michel Foucault)