The Madrid Conference of 1934 sanctioned the affirmation of a new idea of the museum with an enhanced educational and social scope, which was shared internationally. The main objective of the reform, already underway in the first decades of the 20th century, was to enable the general public entering museums to understand the value of history, of the arts and of sciences in the ‘construction’ of the present. This process of profound transformations involves various design and theoretical concerns, which are explored in this issue of the Journal in three sections and in a photo album. The first section highlights the role of some of the decisive figures in the development of contemporary museography and then moves on to the theoretical debate and the relationship between exhibitions and museums. The second section focuses on education and communication, both within the museum and in the development of methodologies for designing its spaces. Finally, the third part investigates the museum from a formal and functional point of view. The volume closes with a photographic ‘story’ of the evolution of some of the Uffizi’s most important exhibitions and a tribute to the memory of Delfín Rodríguez Ruiz.
{"title":"Una nuova idea di museo tra passato e futuro","authors":"Orietta Lanzarini, E. Ferretti","doi":"10.36253/opus-14836","DOIUrl":"https://doi.org/10.36253/opus-14836","url":null,"abstract":"The Madrid Conference of 1934 sanctioned the affirmation of a new idea of the museum with an enhanced educational and social scope, which was shared internationally. The main objective of the reform, already underway in the first decades of the 20th century, was to enable the general public entering museums to understand the value of history, of the arts and of sciences in the ‘construction’ of the present. This process of profound transformations involves various design and theoretical concerns, which are explored in this issue of the Journal in three sections and in a photo album. The first section highlights the role of some of the decisive figures in the development of contemporary museography and then moves on to the theoretical debate and the relationship between exhibitions and museums. The second section focuses on education and communication, both within the museum and in the development of methodologies for designing its spaces. Finally, the third part investigates the museum from a formal and functional point of view. The volume closes with a photographic ‘story’ of the evolution of some of the Uffizi’s most important exhibitions and a tribute to the memory of Delfín Rodríguez Ruiz.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139180715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When Mies began teaching at the Armour Institute, he defined a programme that would make technical and industrial developments in the United States problematic and theoretical. Some of the exercises concerned the relationship between painting, sculpture and architecture, and were transformed into museum projects. In the paper, the projects for exhibition spaces drawn up by Brenner, Jansone and Lippert for the Master of Science in Architecture are analysed from archive documents. The spatial, structural and material characteristics of these projects are reconstructed, as are their relationships to the programmes of the Department of Architecture, the design processes suggested by Mies, Le Corbusier’s projects for museums, and the Museum for a Small City designed by Mies together with Danforth. The theses of Brenner, Jansone and Lippert, united by the choice of a museum system that transfigured Le Corbusier’s model in the light of Mies’s vision, appear to be decisive documents not only for understanding the Department of Architecture’s didactic orientations, but also for accessing Mies’s unspeakable art of tracing and arranging lines and planes in space.
{"title":"Principi della didattica di Mies nei progetti di Brenner, Jansone e Lippert per un museo d’arte","authors":"A. Rosellini","doi":"10.36253/opus-14843","DOIUrl":"https://doi.org/10.36253/opus-14843","url":null,"abstract":"When Mies began teaching at the Armour Institute, he defined a programme that would make technical and industrial developments in the United States problematic and theoretical. Some of the exercises concerned the relationship between painting, sculpture and architecture, and were transformed into museum projects. In the paper, the projects for exhibition spaces drawn up by Brenner, Jansone and Lippert for the Master of Science in Architecture are analysed from archive documents. The spatial, structural and material characteristics of these projects are reconstructed, as are their relationships to the programmes of the Department of Architecture, the design processes suggested by Mies, Le Corbusier’s projects for museums, and the Museum for a Small City designed by Mies together with Danforth. The theses of Brenner, Jansone and Lippert, united by the choice of a museum system that transfigured Le Corbusier’s model in the light of Mies’s vision, appear to be decisive documents not only for understanding the Department of Architecture’s didactic orientations, but also for accessing Mies’s unspeakable art of tracing and arranging lines and planes in space.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"8 3-4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A selection of photographs of the Uffizi’s renewals and displays, taken mainly before and after World War II, represent the core of the visual essay. The images belong to four distinctive photographic documentations of the gallery, commissioned in order to record the exhibition designs each time they were dismantled and renewed. The photographs were shot by the photographers of the Gabinetto Fotografico delle Gallerie degli Uffizi (1904-on going). The ones reproduced here are held in the central photo archive of the former Direzione Generale Antichità e Belle Arti. Their documentary value lies in both the image and its recto, where information such as the inventory number of the photography was printed. Many other traces of their afterlife can be found in the many notes, dates and comments which proved to be strategic in dating, even “to the month”, the renewal of the spaces and the arrangement of the pictures. The images are ordered in three discursive sections that link the on-going renewal of the Galleria in these decades to the contemporary critical debate on museum arrangements.
这篇视觉散文的核心部分是乌菲兹美术馆更新和展示的部分照片，主要拍摄于第二次世界大战前后。这些图片属于美术馆的四种独特的摄影记录，是为了记录每次拆除和更新时的展览设计而委托拍摄的。这些照片由 Gabinetto Fotografico delle Gallerie degli Uffizi（1904 年至今）的摄影师拍摄。这里复制的照片保存在前 Antichità e Belle Arti 总署的中央照片档案中。它们的文献价值在于图像及其直面，其中印有摄影作品的库存编号等信息。在许多注释、日期和评论中，我们还可以发现许多其他的蛛丝马迹，这些注释、日期和评论在确定日期（甚至 "精确到月"）、空间更新和图片排列方面都很有帮助。这些图片被分为三个讨论部分，将这几十年来美术馆的持续更新与当代关于博物馆布置的批判性辩论联系在一起。
{"title":"Un racconto fotografico (parziale) degli allestimenti della Galleria degli Uffizi nel secondo dopoguerra","authors":"Benedetta Cestelli Guidi","doi":"10.36253/opus-14851","DOIUrl":"https://doi.org/10.36253/opus-14851","url":null,"abstract":"A selection of photographs of the Uffizi’s renewals and displays, taken mainly before and after World War II, represent the core of the visual essay. The images belong to four distinctive photographic documentations of the gallery, commissioned in order to record the exhibition designs each time they were dismantled and renewed. The photographs were shot by the photographers of the Gabinetto Fotografico delle Gallerie degli Uffizi (1904-on going). The ones reproduced here are held in the central photo archive of the former Direzione Generale Antichità e Belle Arti. Their documentary value lies in both the image and its recto, where information such as the inventory number of the photography was printed. Many other traces of their afterlife can be found in the many notes, dates and comments which proved to be strategic in dating, even “to the month”, the renewal of the spaces and the arrangement of the pictures. The images are ordered in three discursive sections that link the on-going renewal of the Galleria in these decades to the contemporary critical debate on museum arrangements.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"91 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper retraces the history of the exhibition designs of the National Archaeological Museum of Reggio Calabria (Italy), investigating the museographic and museological instances that inspired them, with a glimpse of the cultural context in which they flourished. The investigation period spans from the 1930s, when the architect Marcello Piacentini developed the original planning ideas for the building and the interior of the “first museum in Italy built for this purpose”, to the first exhibition presented to the public at the opening in 1958. The paper concludes with an analysis of the expansion of the museum sections in the 1960s with new criteria. Thanks to hitherto unpublished documents, the history of the museum and its protagonists has been reconstructed, revealing a spirit of collaboration between architects and archaeologists which provides an example of good museum practice and laid the basis for the subsequent development of this important institution in Southern Italy.
{"title":"Il Museo della Magna Grecia. Dal progetto di Piacentini ai primi allestimenti del Museo Archeologico Nazionale di Reggio Calabria","authors":"Germano Germanò","doi":"10.36253/opus-14846","DOIUrl":"https://doi.org/10.36253/opus-14846","url":null,"abstract":"The paper retraces the history of the exhibition designs of the National Archaeological Museum of Reggio Calabria (Italy), investigating the museographic and museological instances that inspired them, with a glimpse of the cultural context in which they flourished. The investigation period spans from the 1930s, when the architect Marcello Piacentini developed the original planning ideas for the building and the interior of the “first museum in Italy built for this purpose”, to the first exhibition presented to the public at the opening in 1958. The paper concludes with an analysis of the expansion of the museum sections in the 1960s with new criteria. Thanks to hitherto unpublished documents, the history of the museum and its protagonists has been reconstructed, revealing a spirit of collaboration between architects and archaeologists which provides an example of good museum practice and laid the basis for the subsequent development of this important institution in Southern Italy.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"13 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims to trace the history of the exhibition device created by Ludwig Mies van der Rohe (1886-1969) at the Neue Nationalgalerie in Berlin, used during the mandate of the museum’s first director, Werner Haftmann (1912-1999), from 1967 to 1974. The solution devised by the architect for the glass hall on the ground floor of the museum, intended for temporary exhibitions and characterised by a completely open space with no walls, consisted of a set of panels suspended from the ceiling by metal cables that could be freely mounted, modulated and dismantled. They were ideally intended to meet the specific museographic requirements of each exhibition and different types of artwork. By analysing the displays of some of the major exhibitions at the Neue Nationalgalerie, the role played by James Johnson Sweeney (1900-1986), director of the Museum of Fine Arts, Houston, in the realisation of Mies van der Rohe’s ideas and exhibition projects in Cullinan Hall, a wing of the museum built by the architect in 1958, and the relationship between museography, works of art, museum space and visitors will be discussed and critical issues will be highlighted.
{"title":"Ludwig Mies van der Rohe, James Johnson Sweeney e Werner Haftmann: mettere in scena l’arte moderna a Houston e Berlino","authors":"Vincenza Benedettino","doi":"10.36253/opus-14842","DOIUrl":"https://doi.org/10.36253/opus-14842","url":null,"abstract":"This article aims to trace the history of the exhibition device created by Ludwig Mies van der Rohe (1886-1969) at the Neue Nationalgalerie in Berlin, used during the mandate of the museum’s first director, Werner Haftmann (1912-1999), from 1967 to 1974. The solution devised by the architect for the glass hall on the ground floor of the museum, intended for temporary exhibitions and characterised by a completely open space with no walls, consisted of a set of panels suspended from the ceiling by metal cables that could be freely mounted, modulated and dismantled. They were ideally intended to meet the specific museographic requirements of each exhibition and different types of artwork. By analysing the displays of some of the major exhibitions at the Neue Nationalgalerie, the role played by James Johnson Sweeney (1900-1986), director of the Museum of Fine Arts, Houston, in the realisation of Mies van der Rohe’s ideas and exhibition projects in Cullinan Hall, a wing of the museum built by the architect in 1958, and the relationship between museography, works of art, museum space and visitors will be discussed and critical issues will be highlighted.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The contribution describes the genesis of the project to enhance the archaeological area of ancient Himera and the construction of the antiquarium which begun in the early 1960s to a design by Franco Minissi. The antiquarium, built along the slope of the mountain, is characterised by a system of sloping terraces that follow the natural progression of the terrain, blending built architecture and natural scenery without any pretence. At the same time, the system of sloping terraces defines the internal museographic itinerary built around a continuous and unified system of ramps, a true architectural promenade, which articulate the space and organise the exhibition: “Double-height rooms and internal overlooks vary and enliven the visit itinerary; the void itself becomes an ‘exhibition machine’; its flow seeks to capture the attention of the visitors and draw them in. Diversified sequences, through a shrewd architectural as well as museographic design, where the exhibits are made to interact with the environment that contains them”.
{"title":"Franco Minissi e il progetto dell’antiquarium di Himera a Termini Imerese (1963-1984): memoria storica e coscienza moderna","authors":"Matteo Iannello","doi":"10.36253/opus-14849","DOIUrl":"https://doi.org/10.36253/opus-14849","url":null,"abstract":"The contribution describes the genesis of the project to enhance the archaeological area of ancient Himera and the construction of the antiquarium which begun in the early 1960s to a design by Franco Minissi. The antiquarium, built along the slope of the mountain, is characterised by a system of sloping terraces that follow the natural progression of the terrain, blending built architecture and natural scenery without any pretence. At the same time, the system of sloping terraces defines the internal museographic itinerary built around a continuous and unified system of ramps, a true architectural promenade, which articulate the space and organise the exhibition: “Double-height rooms and internal overlooks vary and enliven the visit itinerary; the void itself becomes an ‘exhibition machine’; its flow seeks to capture the attention of the visitors and draw them in. Diversified sequences, through a shrewd architectural as well as museographic design, where the exhibits are made to interact with the environment that contains them”.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"21 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139180475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The case of Franca Helg (1920-1989) is, in many respects, unprecedented: architect and museographer, alongside her intense academic and publicist activities, she designed and created some of the main post-war museums and around a hundred temporary exhibitions. However, her professional association with Franco Albini, with whom from 1951 (and until the architect’s death in 1977) she shared a studio, ended up obscuring her contributions. The Genoese museums of Palazzo Rosso, the Treasury of San Lorenzo, and Sant’Agostino, and the Eremitani in Padua, are in fact generally attributed to the hand of master Albini, while Helg, always in the background, is often not even mentioned. Even more seriously, her real contributions are never made explicit, at planning or theoretical level. This paper aims to initiate studies on Helg by highlighting her design and theoretical contributions to post-war museography and museology, also through her writings (published and unpublished) and an analysis of a part of her archive.
{"title":"“La mostra corrisponde al giornale, il museo corrisponde al libro”: il contributo di Franca Helg alla museografia del dopoguerra","authors":"Raffaella Fontanarossa","doi":"10.36253/opus-14839","DOIUrl":"https://doi.org/10.36253/opus-14839","url":null,"abstract":"The case of Franca Helg (1920-1989) is, in many respects, unprecedented: architect and museographer, alongside her intense academic and publicist activities, she designed and created some of the main post-war museums and around a hundred temporary exhibitions. However, her professional association with Franco Albini, with whom from 1951 (and until the architect’s death in 1977) she shared a studio, ended up obscuring her contributions. The Genoese museums of Palazzo Rosso, the Treasury of San Lorenzo, and Sant’Agostino, and the Eremitani in Padua, are in fact generally attributed to the hand of master Albini, while Helg, always in the background, is often not even mentioned. Even more seriously, her real contributions are never made explicit, at planning or theoretical level. This paper aims to initiate studies on Helg by highlighting her design and theoretical contributions to post-war museography and museology, also through her writings (published and unpublished) and an analysis of a part of her archive.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"78 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The story of the Civic Museum of Pisa, built by Piero Sanpaolesi in the former convent of San Matteo, and inaugurated in 1949 in the midst of the emergency of reconstruction, intertwines the themes of restoration and museography, representing a significant synthesis of the international debate on culture and museum practice. In this sense, the contribution aims to demonstrate the principle of unity between architectural structure and pieces of art that underlies the project of the museum of San Matteo, where the intent of Sanpaolesi to think the restoration of the building and the exhibition as a whole emerges clearly. Restoration as an opportunity to know the historical and artistic palimpsest that is part of the process of musealization of the building, in relation to an idea of ‘modernity’ compatible with the cultural values of which the building itself is the bearer. Where the idea of valorization acquires meaning not so much because the building ‘contains’ works of art, but because the same operation of rereading the historical narrative of the building is an integral part of the exhibition.
{"title":"Il San Matteo di Pisa: un “modello” tra i musei italiani","authors":"F. Giusti","doi":"10.36253/opus-14847","DOIUrl":"https://doi.org/10.36253/opus-14847","url":null,"abstract":"The story of the Civic Museum of Pisa, built by Piero Sanpaolesi in the former convent of San Matteo, and inaugurated in 1949 in the midst of the emergency of reconstruction, intertwines the themes of restoration and museography, representing a significant synthesis of the international debate on culture and museum practice. In this sense, the contribution aims to demonstrate the principle of unity between architectural structure and pieces of art that underlies the project of the museum of San Matteo, where the intent of Sanpaolesi to think the restoration of the building and the exhibition as a whole emerges clearly. Restoration as an opportunity to know the historical and artistic palimpsest that is part of the process of musealization of the building, in relation to an idea of ‘modernity’ compatible with the cultural values of which the building itself is the bearer. Where the idea of valorization acquires meaning not so much because the building ‘contains’ works of art, but because the same operation of rereading the historical narrative of the building is an integral part of the exhibition.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"405 30","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article describes the work of ethnographer Thérèse Rivière (1901-1970) at the Musée d’Ethnographie du Trocadéro, later Musée de l’Homme, in Paris. Analysing the scholar’s contribution, in particular the method she adopted during her fieldwork in Algeria among the Amazigh populations and its subsequent impact on the museum, the essay brings to light not only a half-forgotten profile, but also a relevant page in the history of the Musée de l’Homme. The analysis develops around the themes of gender, distance/proximity to the object of study, and adherence or non-adherence to a normativity imposed from above in the strongly hierarchical structure of the museum. What emerges is the figure of an ethnographer who entrusts relationships and imaginative power with the ability to understand and represent a culture. The collection of photographs, the letters, and the album of the ‘dessins indigènes’ show how her practice was not at odds with an unobjectionable scientific rigour. The long years in a psychiatric hospital, however, also suggest a reflection on the boundaries between truth and fiction, the relationship between sight and mental health, the impact of war and much more to be explored.
{"title":"Lo sguardo di Thérèse Rivière al Musée de l’Homme di Parigi. Le “tecniche del corpo” per il capovolgimento del paradigma coloniale (1928-1946)","authors":"Anna Chiara Cimoli","doi":"10.36253/opus-14837","DOIUrl":"https://doi.org/10.36253/opus-14837","url":null,"abstract":"The article describes the work of ethnographer Thérèse Rivière (1901-1970) at the Musée d’Ethnographie du Trocadéro, later Musée de l’Homme, in Paris. Analysing the scholar’s contribution, in particular the method she adopted during her fieldwork in Algeria among the Amazigh populations and its subsequent impact on the museum, the essay brings to light not only a half-forgotten profile, but also a relevant page in the history of the Musée de l’Homme. The analysis develops around the themes of gender, distance/proximity to the object of study, and adherence or non-adherence to a normativity imposed from above in the strongly hierarchical structure of the museum. What emerges is the figure of an ethnographer who entrusts relationships and imaginative power with the ability to understand and represent a culture. The collection of photographs, the letters, and the album of the ‘dessins indigènes’ show how her practice was not at odds with an unobjectionable scientific rigour. The long years in a psychiatric hospital, however, also suggest a reflection on the boundaries between truth and fiction, the relationship between sight and mental health, the impact of war and much more to be explored.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"1 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1962, the house in which German astronomer Johannes Kepler died in Regensburg/Ratisbona was transformed into a museum about the founder of astrophysics and discoverer of the laws of planetary motion. The refurbishment of the medieval residential building and its repurposing unveils an understanding of science, history, heritage protection, and museum that is characteristic of the time and, simultaneously, allows insights into the peculiarities of cultural politics in post-fascist Germany. The architectural approach that was taken to preserve the historic monument was creative rather than scientific. For instance, it assembled parts from other houses of the same epoch to replace missing ceilings in order to create an “authentic” historic atmosphere. This authenticity was also perceived by visitors to the exhibition. A house-museum evolved with furniture that only appeared to be Kepler’s and a building that was altered in a way that makes it hard to distinguish between the different layers of time. Both the architecture and the permanent exhibition blurred the boundaries between stage and museum, props and exhibits, and authenticity and make-believe.
{"title":"Between Stage and Museum. Regensburg’s Kepler Museum and the Use of History","authors":"Pablo Von Frankenberg","doi":"10.36253/opus-14850","DOIUrl":"https://doi.org/10.36253/opus-14850","url":null,"abstract":"In 1962, the house in which German astronomer Johannes Kepler died in Regensburg/Ratisbona was transformed into a museum about the founder of astrophysics and discoverer of the laws of planetary motion. The refurbishment of the medieval residential building and its repurposing unveils an understanding of science, history, heritage protection, and museum that is characteristic of the time and, simultaneously, allows insights into the peculiarities of cultural politics in post-fascist Germany. The architectural approach that was taken to preserve the historic monument was creative rather than scientific. For instance, it assembled parts from other houses of the same epoch to replace missing ceilings in order to create an “authentic” historic atmosphere. This authenticity was also perceived by visitors to the exhibition. A house-museum evolved with furniture that only appeared to be Kepler’s and a building that was altered in a way that makes it hard to distinguish between the different layers of time. Both the architecture and the permanent exhibition blurred the boundaries between stage and museum, props and exhibits, and authenticity and make-believe.","PeriodicalId":505818,"journal":{"name":"Opus Incertum","volume":"411 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139181118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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