Our world is full of objects of every type and condition. Museums as our world, are not an exception; they normally contain and exhibit objects which existence needs a correct explanation to visitors. To each one of us objects have different meanings, some are very familiar, useful, beautiful, sad, nice, old, etc. In some occasions, objects make us travel to a place in the past, to our past or someone else past. What we try to say is that objects have a meaning to everyone. It is like objects should talk to us, using the same language that we use to communicate to others. We must have in mind that each object has triple meanings, and this is very important to understand heritage on the right way:
a/ Objects have functional meaning that answer to the question: what it is and what for?
b/ Functional meaning, that answers to the question: what is its value to me?
c/ Contextual meaning, that answer to the question: what it is its scenario?
If we are able to get good answer to those questions in a proper way to all kind of people once we are planning to build and exhibition with objects, is the basics, the first thing we must do, to prepare the right answers to everyone. But, anyone of us when we are looking to an object our minds can ask to it many other questions: what is that? Why is it like this? What does for? How is it used? What is the material made of? Where it does come from? What does it remind me? Where it does come from? Who did it? Where? All these question send us directly to a different formulas of exhibition planning trying to give the right answers to all different personal questions. We must have in mind that triple meaning that object do have and we must react in consequence. If the group of objects that we call heritage, something that must be understood by any visitor to reach the right concept, the right history told. Then we must to have in mind other ideas that must be evaluated together:
1. To understand heritage we must do a relationship between the object and the visitor’s previous ideas of it
2. To inform is not make understand.
3. To understand heritage we must use all kind of museographic strategies.
4. The objective of heritage understanding is not to show information, not even teach anything: it is to generate emotions, to make think, to make new ideas grow.
5. Understanding heritage must be global; we do not have partial understandings.
6. To do a correct heritage understanding we must take care with age segments.
7. Heritage understanding must be fun.
8. Heritage understanding must be relevant.
9. Heritage understanding must be under order and control.
10. Heritage understanding must respond to a earlier script; it must have a theme as a book or a movie. It must have a beginning and ending.
Our theory of 10 basic stages of the heritage understanding of objects, small or giant, respond to a new generation of didactic museography that we defend, because we believe in this way to do things. It must be done to make to any visitor take part to a wonderful play under high quality of making off. Behind this strategy, we do not forget which are the important messages that are the main axis of the museum existence. Visitors must make relevant discoveries, aesthetic discoveries, scientific discoveries, historic discoveries in their museum’s visit. The professional museographer must build scenarios that will be able to send the right messages under order and reasons to museum’s visitors. The modern museography, the didactic museography, does not understand the museum project as a nice exhibition, beautiful to our eyes, with objets in perfect immaculate order and well illuminated. Everything must be designed following a script, if not we never will reach to a level of excellence that visitors deserve.