domingo, 23 de agosto de 2015

Dzitoghtsyan Museum of National Architecture. The Museum covers both the history and everyday life of Gyumri, as well as paintings and other works of art.

Officially Dzitoghtsyan House-Museum of Social Life and National Architecture (Armenian: Ձիթողցյանների քաղաքային կենցաղի և ազգային ճարատարապետության տուն-թանգարան) is a museum in Gyumri, Armenia. It was founded in 1984 in the Dzitoghtsyan family house, dating back to the 19th century. The museum exhibits elements of the daily urban life of Gyumri, as well as the local cultural and architectural characteristics of the city.


The famous house of Dzitoghtsyan family was built in 1872 by 4 brothers who migrated from the Western Armenian village of Dzitogh, to the city of Alexandropol. It is built with the famous red tuff stone of Shirak.

The house-museum, exhibits a collection of the Alexandropol social life characteristics, from the 19th century up to the 1920s. It also features the cultural, architectural and religious aspects of the city.


Constructed in 1872 by Dzitoghtsyan family, the house-museum consists of several sections where the belongings of the former owners have been preserved.

Part of the ground floor of the mansion has been converted into a wonderful restaurant called Fayton Alek, which is a good place to rest and have a meal at the end of your long tour. The vaulted interior ceilings, the traditional rugs and other decorations are well worth seeing.

The museum is divided into two sections: the first room displays an exhibition of photographs of famous people. Among them are photographs of Margaret Thatcher, Ronald Reagan and Jacques Cousteau. You can also see furniture in the rooms of the Dzitoghtsyans: the piano brought from Italy and other pieces of furniture brought from Russia and Europe. The exposition is remarkably rich, highlighting the exceptional mastery of the local craftsmen. The collections include contemporary artwork, carpets and handicraft from Gyumri.

In the second room, photographs of old Gyumri and 19th century maps of old Alexandropol are displayed. The room has an odd display of keys on the wall, as well as a very well-done diorama of the old city.

fonte: @edisonmariotti #edisonmariotti


Desgraciadamente, son muchas las personas que sufren alguna minusvalía o limitación física que ni se plantean visitar un museo. Sin ir más lejos, en los museos españoles y conjuntos monumentales del patrimonio nacional se evidencia una carencia absoluta de accesibilidad para personas con alguna discapacidad. La lentitud en la supresión de barreras arquitectónicas radica en que los edificios donde se ubican los museos son los llamados Bienes de Interés Cultural (BIC), edificios catalogados con la máxima protección oficial, lo que impide modificar su estructura. En otras palabras, BIC significa: “edificio no apto para las personas mermadas físicamente”, algo totalmente injusto y fuera de todo criterio razonable.

Las asociaciones de personas con incapacidades físicas saben muy bien que los museos actualmente no tienen obligación de disponer de medidas de accesibilidad concretas, ya que tan solo existe una legislación general que no cumple en la inmensa mayoría de los casos y que no es sancionadora. En el caso de las personas con problemas de audición total o parcial, podemos recordar que los museos deben tener alarmas de emergencia no solo sonoras sino también luminosas, señalización adecuada, avisos de información visuales mediante rótulos, displays o pantallas y audioguías con información de texto (subtítulos) en las pantallas, así como ascensores – si los hay – preparados adecuadamente para contingencias en las que se pueden ver involucradas personas con dificultades, si son acristalados mucho mejor. Y también habría que hablar de la accesibilidad de los sitios web de los museos, teniendo en cuenta que si disponen remedios audiovisuales estos deben mostrar subtítulos.

Las asociaciones que velan por los derechos de las personas con discapacidad, que analizan periódicamente las condiciones de accesibilidad en los equipamientos culturales, realizan informes y divulgan entre su comunidad aquellos museos que sí están adaptados, ya que, por fortuna, existen museos que han sido conscientes de la importancia de facilitar medidas que garanticen acceso a sus instalaciones para todo tipo de personas, sin distinción.

Crece el turismo cultural accesible y sin barreras dedicado a segmentos de público que demandan la posibilidad de viajar, moverse y entender la realidad sin que se les presente dificultades. Las agencias de viajes y oficinas de turismo tienen muy en cuenta las recomendaciones de las asociaciones de personas discapacitadas e incluso podemos encontrar en Internet listados e indicaciones sobre museos accesibles. Un ejemplo: Polibea Turismo.

fonte: @edisonmariotti #edisonmariotti Espacio Visual Europa (EVE)

The Yangon Drug Elimination Museum, Myanmar, is well worth visiting for its bizarre factor.

The huge three-storey building covers all facets of Myanmar’s own war on drugs, including the history of opium cultivation in Myanmar, operations launched against drug production, crop-replacement and economic development strategies in opium production regions, and education campaigns about the dangers of drugs.


Highlights are the quirky dioramas throughout the museum, random exhibits that require some interpretation as to how they fit in, and some morbid displays of the negative effects of drug use.


Entry for foreigners is $3. Camera fee is $5. Kyat is also accepted at a slightly unfavorable exchange rate.

An absolutely mind-blowing and utterly unique experience. There is literally nothing they haven’t thought of in this gigantic place, from extraordinary detail of what you can do when you’re not harvesting drugs (raise cows or pigs) to the horrors of being on drugs (a special room that you are taken to by the museum staff, with lots of weird lighting, scary music, and a big claw that pops out of the dark when at the push of a button).
Propaganda has never been so much fun!

Both the author and 1st reviewer of this post are clearly on drugs.
This “museum” is one of the most politically dubious institutions I have ever not come into direct contact with. Drugs are ubiquitous in society; good drugs and bad drugs, otherwise know by libertarians as not-so-good drugs.

In my view this is where the museum is itself antiquated. Let me set out my argument clearly and precisely below.

At this very moment in time, there are numerous “bad drugs” on the march into Myanmar, they being: salt, sugar, fat and alcohol. They are being smuggled into the country in cup noodles, potato chip packets, soft drinks, snack foods, processed foods, processed meats, fancy labelled top-shelf drinks and the like.

Let’s not joke around here folks these are big killers.

Salt related hypertension and cardiovascular disease, sugar related diabetes, obesity due to excess fat and alcohol induced cancers are no laughing matters.

They are a scourge, bringing misery and suffering to millions.

For this reason, I found this museum, which I haven’t been to, lacking. It needs to add a couple of stories before it gets my healthy tick of approval.

fonte: @edisonmariotti #edisonmariotti

The Helsinki City Museum main building on Sofiankatu is located in the immediate vicinity of the capital’s iconic Senate Square and bustling Kauppatori market, with exhibitions focusing on the history of the city.

Helsinki City Museum, Sofiankatu 4

In addition to the exhibitions, visitors can watch old Helsinki-themed films in the movie theatre, shop in the museum shop or dig through old photographs in the photograph archives.

Originally intended as part of the Stockmann department store, the building designed by the legendary Finnish architect Lars Sonck was completed in 1913. The building later housed Helsinki’s main police station for more than 50 years. The City Museum moved into the premises in 1994. Museum operations at Sofiankatu 4 will finish at the end of 2015 and continue in the new Helsinki City Museum which will open near the Senate Square in spring 2016.

fonte: @edison.mariotti #edisonmariotti

Suermondt-Ludwig-Museum - The oldest pieces in the collection are German sculptures from the 12th to 16th century.

The museum has one of the prime collections of medieval sculpture in Germany and a small but refined presentation of early Netherlands and German painting, among them brilliant pearls by Joos van Cleve, Aelbrecht Bouts and Cornelis Engebrechtsz. Spectacular is the beautiful collection of 17th Century Dutch and Flemish painting, including highlights by Rembrandt, Frans Hals, Govert Flinck, Anthony van Dyck and Frans Snijders


The Aachener Museumsverein (Aachen museum association) was created in 1877, and in 1883 a city museum was opened in the Alte Redoute (Old Redoubt) building. It was named the Suermondt Museum, after the founder Barthold Suermondt, who gave 105 paintings from his collection to the city. This collection, together with many other works which were later sold to Berlin, had been on display in the Suermondt Gallery in Aachen already before the museum was established.

In 1901, the museum moved to the Villa Cassalette (de), originally owned by the Cassalette family which had acquired fortune through the Aachener Kratzenfabrik Cassalette, which produced raising cards. Over the next decades, the building was slowly extended to house the ever growing museum collection, the most recent expansion was in 1992 to 1994. Major gifts were received from Anton Ignaz van Houtem and Franz Johann Joseph Bock.

In 1977, the name of the museum was changed to Suermondt-Ludwig-Museum to honour Irene and Peter Ludwig, art collectors who donated a significant part of their collection of art (medieval to modern) to the museum that year, after having given permanent loans from 1957 on.


The family Cassalette, rich factory owners in Aachen, asked the architect Eduard Linse to design a city palace in a Renaissance Revival architecture style, inspired by Venetian palaces. The interior of the Villa Cassalette was richly decorated with murals in the Pompeian style, stucco cassettes on the ceilings, and sculptures. Many small changes and extensions were made when the building became a museum in 1901 and afterwards; but much of the original interior has been restored or made visible again since. In 1992-1994, the architecture company Busmann & Haberer designed a large extension, built at the left side of the Villa.


The oldest pieces in the collection are German sculptures from the 12th to 16th century. This includes works by Tilman Riemenschneider, Hendrik Douvermann and Arndt van Tricht. Amongst the earliest paintings in the collection is an Adoration of the Magi by the Master of the Glorification of the Virgin and a work by Joos van Cleve. Paintings from the 16th century include a Judith by Luca Cranach the Elder, a Mater Dolorosa by Aelbrecht Bouts and a Mary Magdalen by Cornelis Engebrechtsz.. Major artists from the 17th century who are represented here include from Spain Francisco de Zurbarán, Luis de Morales and Jusepe de Ribera and from Italy Bartolomeo Manfredi. The large collection of paintings from Flanders and the Netherlands shows works by Anthony van Dyck, Jacob Jordaens, Frans Snyders, Jacob Isaacksz van Ruisdael, Frans Hals, Willem Claeszoon Heda, Willem Kalf, Joseph de Bray and Jan Boeckhorst.

The modern art collection is largely restricted to artists living or working in Germany, including internationally known ones like Alexej von Jawlensky, Otto Dix, Max Beckmann, August Macke and Andreas Achenbach.

Other disciplines that are on display at the museum are a large collection of glass painting, 10,000 works of graphic art by artists like Albrecht Dürer, Rembrandt and many others, Flemish tapestries, and works of goldsmiths.

fonte: @edisonmariotti #edisonmariotti