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5720127736_511b1b0df8_bImage: ievenlostmycat

The ‘Visitor’s Centers’ concept is a relatively modern sytarting from the definitions of Freeman Tilden (theory of the interpretation of the cultural heritage) and began to be used in the North American museology. The term “expose”, from the latin exponere, means “action present a matter clearly and under a method”; on the other hand “interpret”, from the Latin word interpretare, means “revealing the sense of a thing”. The museography aims at two things: submit a matter with clarity and method and at the same time reveal their sense. One thing to submit, showcase, something and quite another is to publicly reveal its meaning: the clear meaning and the hidden. Which had in its origin and which currently has. Although both terms seem to be synonymous, they are not. A store shows its products in an attractive form of face showcase the potential buyer, i.e. they present those products with clarity and method. that is a useful for a designer shop concept is not sufficient for an exhibit on the Museum premises. Museography not only must expose but must interpret, i.e., to reveal the meaning of the above.

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Interpreting is a term that does not interest showcases designer or graphic designer to the advertising creative. For this reason, Mr Tilman defines “construed” as “the equivalent of what looks and experience”. The process of interpretation must take into account that each object or asset has a triple meaning, these are: · Functional meaning, which answers the question: “for what?” and “how to use?”.

· Symbolic meaning, which answers the question: “is value for my?”.

· Contextual meaning, which answers the question: “what situation or scenario is?”.

Therefore, to discover the meaning of any public element heritage multiple questions, which leads us to unravel the triple meaning that we said that should proceed accordingly. Once above this, say that we understand as ‘interpretation centre’ equipment located in a closed building or open pit that normally does not have original objects and which aims to reveal the apparent or hidden meaning of what intends to interpret. An interpretation centre is to be effective it is necessary to comply with the following Decalogue:

1. related to the object being read with the previous ideas of the user.

2. its purpose is to instruct, Excite, evoke, provoke or trigger ideas.

3 has in It has visitors age segments.

4 you have present that interpretation is not only to be shown.

5. organize an orderly content.

6 select relevant concepts.

7 recreational elements it contains.

8 uses different museum resources.

9 it is conceived as a global fact and non-partial interpretation.

10 interprets heritage objects without the need of their physical exposure.

581323801383_ilGziD43_lEVE’s archives

Anywhere, town or city, with many or few inhabitants, with a territory extensive or limited, with a multitude of economic resources or not, is equipped with susceptible (both tangible and intangible) heritage because of being interpreted.
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Foto: Kim Komenich

But how equipment can be drawn in the absence of specific legislation for the centres of interpretation and to the utter lack of basic guidelines that will help to define what should be exactly these facilities. Among unique attempts to create a basic guide of heritage interpretation, there is made by competent professionals and with the desire to create an effective instrument, edited by Diputació de Barcelona in 2006, i.e. once all the centers of interpretation which, in this case Spain, was able to assimilate and some more were already built.

kat_sculptureKat Sculpture, Burning Man

The lack of strategic planning accompanied the lack of analysis about what features should have a Center, how should consider the objectives of planning and interpretation. The absence of analysis of models has also pushed to improvisation. Is for this reason that, in addition to the Decalogue which we have pointed out, we should take into account some other fundamental and practical concepts, and that some of them, related exclusively to the management are essential when starting the project of the creation of an interpretation centre: legislation, planning, building, human resources, production, etc.

BIBLIOGRAPHY:

GARCÍA BLANCO, Ángela. La exposición, un medio de comunicación. Madrid, ediciones Akal, Arte y Estética, (1999).

MARTÍN PIÑOL, Carolina. Manual del centro de interpretación. Ediciones TREA, Gijón (2013).

AGENDA:

A series of workshops and meetings with professionals of museums on accessibility, in collaboration with Portuguese professionals, dated scheduled for October 2014, organized by the Association of museum curators and curators of Andalusia (Spain). More information: http://www.etpmuseos.com

 
 
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