sexta-feira, 4 de setembro de 2015

La nascita dei Musei Capitolini viene fatta risalire al 1471, quando il papa Sisto IV donò al popolo romano un gruppo di statue bronzee di grande valore simbolico. -- The creation of the Capitoline Museums has been traced back to 1471, when Pope Sixtus IV donated a group of bronze statues of great symbolic value to the People of Rome.

Le collezioni hanno uno stretto legame con la città di Roma, da cui proviene la maggior parte delle opere.

Fondazione e prime acquisizioni

Cortile del Palazzo dei Conservatori (Stefano della Bella, 1610-1664 - Roma, Gabinetto Nazionale delle Stampe)

Il papa Sisto IV donando solennemente al Popolo Romano nel1471 alcune antiche statue in bronzo già conservate al Laterano (la Lupa, lo Spinario, il Camillo e la testa colossale di Costantino, con il globo e la mano) costituì il primo nucleo dei Musei Capitolini.

La restituzione alla città delle vestigia della sua passata grandezza acquistava un più alto valore simbolico per la loro collocazione sul Campidoglio, centro della vita religiosa della Roma antica e sede delle magistrature civili cittadine a partire dal medioevo, dopo un lungo periodo di abbandono.

Le sculture furono in un primo tempo sistemate sulla facciata esterna e nel cortile del Palazzo dei Conservatori ed in breve il nucleo originario fu arricchito da successive acquisizioni di reperti provenienti dagli scavi urbani e strettamente collegati con la storia della Roma antica.

Alla metà del XVI secolo erano state collocate in Campidoglio, significative opere di scultura (tra le altre la statua di Ercole in bronzo dorato dal Foro Boario, i frammenti marmorei dell'acrolito di Costantino dalla Basilica di Massenzio, i tre pannelli a rilievo con le imprese di Marco Aurelio, il cd. Bruto Capitolino) ed importanti iscrizioni (tra cui i Fasti Capitolini, rinvenuti nel Foro Romano).

Le due colossali statue del Tevere e del Nilo, attualmente all'esterno del Palazzo Senatorio, furono trasferite negli stessi anni dal Quirinale, mentre la statua equestre di Marco Aurelio fu portata dal Laterano nel 1538 per volere del papa Paolo III.

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Museo Capitolino e Pinacoteca
Atrio e cortile del Museo Capitolino 
(Charles-Joseph Natoire, 1700-1777 - 
Paris, Louvre, Cabinet des Dessins)


La fisionomia della raccolta fu modificata nella seconda metà del '500, con l'ingresso nelle collezioni capitoline di un imponente gruppo di sculture, in seguito alla decisione del papa Pio V di liberare il Vaticano dalle immagini "pagane": le collezioni furono incrementate con significative testimonianze artistiche e all'impostazione storica fino ad allora prevalente si affiancò quella più squisitamente estetica delle nuove acquisizioni.

Con la costruzione del Palazzo Nuovosull'altro lato della piazza fu possibile dal 1654 sistemare in maniera più adeguata la grande quantità di opere che si era accumulata nel Palazzo dei Conservatori, collocandone una parte nell'edificio appena costruito.

Il Museo Capitolino fu però aperto al pubblico solo nel secolo successivo, in seguito all'acquisizione della collezione di statue e ritratti del cardinale Albani ad opera del papa Clemente XII, che lo inaugurò nel 1734.

Benedetto XIV (che vi collocò anche i frammenti della Forma Urbis severiana, la grande pianta marmorea di Roma antica) fondò pochi decenni più tardi, alla metà del XVIII secolo, la Pinacoteca Capitolina, dove confluirono due importanti collezioni private, la Sacchetti e la Pio.

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Trasformazioni ottocentesche
Palazzo dei Conservatori: Sala Ottagona (1876)


Un notevole accrescimento delle raccolte ebbe luogo alla fine dell'Ottocento, dopo la designazione di Roma come capitale dell'Italia unificata nel 1870, in occasione degli sterri per la costruzione di nuovi quartieri.

Per la grandissima quantità di materiali provenienti dagli scavi furono allestite nuove sezioni di esposizione nel Palazzo dei Conservatori e venne contemporaneamente realizzato sul Celio il Magazzino Archeologico Comunale, in seguito denominato Antiquarium.

Alcune sculture trovarono posto in un padiglione a pianta ottagonale, la "Sala Ottagona", appositamente costruito nel giardino interno al primo piano del Palazzo dei Conservatori.

Anche in questo periodo ebbero luogo cospicue donazioni, dovute alla munificenza di collezionisti privati, tra le quali vanno ricordate la Collezione Castellani di vasi antichi e la Collezione Cini di porcellane.

Il Medagliere Capitolino fu costituito negli stessi anni, con l'acquisizione di importanti collezioni private e con i reperti numismatici provenienti dagli scavi urbani.

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XX secolo
Museo Nuovo del Palazzo dei Conservatori: Sala VIII


Un nuovo allestimento delle collezioni fu realizzato da Rodolfo Lanciani agliinizi del 1900, seguito da una più radicale risistemazione nel 1925, quando nel Palazzo Caffarelli, appena acquisito, fu istituito il Museo Mussolini (poi Museo Nuovo) dove furono trasferite le opere di scultura conservate nell'Antiquarium al Celio, che da allora fu destinato soprattutto alle cosiddette "arti minori".

Nel 1952 fu ricavato in un'ala del Palazzo dei Conservatori un nuovo settore di esposizione, denominatoBraccio Nuovo.

Nel 1957, in occasione del III Congresso Internazionale di Epigrafia Greca e Latina, venne inaugurata la nuova Galleria Lapidaria dei Musei Capitolini nella Galleria di Congiunzione, realizzata negli anni 1939-41 per il collegamento dei palazzi capitolini; vi furono sistemate circa 1400 iscrizioni antiche, latine e greche, provenienti in parte dalle sale dell'Antiquarium Comunale sul Celio, in parte dagli stessi Musei Capitolini.

Gravi problemi di infiltrazioni d'acqua e di umidità hanno poi costretto nel corso del tempo a chiudere al pubblico la Galleria Lapidaria; anche le sale del Museo Nuovo e del Braccio Nuovo del Palazzo dei Conservatori sono state successivamente escluse dal percorso museale.

Nel 1997, per liberare gli ambienti interessati dai lavori di ristrutturazione, le sculture esposte nel Museo del Palazzo dei Conservatori, nel Museo Nuovo e nel Braccio Nuovo sono state in gran parte temporaneamente trasferite nel suggestivo spazio espositivo ricavato nell'ex centrale elettrica dell'Acea sulla via Ostiense, la Centrale Montemartini.

fonte: @edisonmariotti #edisonmariotti http://www.museicapitolini.org/



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Foundation and first acquisition
Pope Sixtus IV was responsible for the creation of the Musei Capitolini's nucleus when in 1471 he donated to the Roman People some bronze statues that had previously been housed in the Lateran (the She-Wolf, the Spinarius, the Camillus and the colossal head of Constantine, with hand and globe).
The return to the city of some traces of Rome's past greatness was made even more important by their collocation on the Capitoline Hill, the centre of ancient Roman religious life and seat of the civilian magistrature from the Middle Ages onwards, after a period of long decline.

The sculptures had intitially been arranged on the external façade and courtyard of the Palazzo dei Conservatori. The originary nucleus shortly became enriched by the subsequent acquisition of finds from excavations taking place in the city, all of which were closely linked to the history of ancient Rome.

During the middle of the 16th Century a number of important pieces of sculpture were set out on the Capitoline Hill (including the gilded bronze statue of Hercules from the Boarius Forum, the marble fragments of the acrolith of Constantine from the Basilica of Maxentium, the three relief panels showing the works of Marcus Aurelius, the so-called Capitoline Brutus, and important inscriptions (including the Capitoline Fasti, discovered in the Roman Forum).

The two colossal statues of the Tiber and the Nile, currently outside the Palazzo Senatorio, were moved at about the same time to Palazzo del Quirinale, while the equestrian statue of Marcus Aurelius was brought form the Lateran in 1538 on the wishes of Pope Paul III.

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Capitoline Museum and Picture Gallery

The overall layout of the collection was altered in the second half of the XVI century, when the museum acquired an important group of sculptures following Pope Pius V's decision to rid the Vatican of "pagan" images: notable works of art increased the collections thereby adding an aesthetic dimension to their hitherto generally historical nature.

With the building of the Palazzo Nuovo on the other side of the square it became possible from 1654 onwards to house in a more satisfactory manner the large collection of works that had been gathering in the Palazzo dei Conservatori, by utilising part of the new building.
The Capitoline Museum, however, was only opened to the public during the course of the following century, after the acquisition, by Pope Clement XII, of a collection of statues and portraits of Cardinal Albani. Pope Clement inaugurated the Museum in 1734.

A few decades later, in the middle of the XVIII century, Pope Benedict XIV (who was responsible for the addition of fragments of the Forma Urbis from the Age of Severus, the largest marble street-plan of ancient Rome) founded the Capitoline Picture Gallery, which saw the conflation of two important collections, the Sacchetti and the Pio.

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19th century transformations

Towards the end of the XIX centurythe collections underwent considerable expansion, following the designation in 1870 of Rome as capital of newly unified Italy, and consequent excavations for the construction of new residential quarters. 

In order to accommodate the large amount of material emerging from these excavations, new exhibition areas were set up in the Palazzo dei Conservatori with the simultaneous creation of the City Council's own archaeological warehouse on the Caelian Hill. subsequently known as the Antiquarium. A number of sculptures were housed in an octagonal-shaped pavilion known as the "Octagonal Hall", built for the purpose in the inner garden on the first floor of the Palazzo dei Conservatori.

This period, like previous ones, also saw a number of important donations thanks to the generosity of private collectors; we should mention, above all, the Castellani collection of ancient pottery and the Cini collection of porcelain.

The Capitoline Coin and Medal Collection was also set up in this period, with the acquisition of a number of important private collections, and with several coins coming to light during archaeological excavations in the city.

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20th century

The collections were re-arranged by Rodolfo Lanciani at the beginning of the XX century, and following by more drastic intervention in 1925, when theMussolini Museum (subsequently the Museo Nuovo) was set up in the newly-acquired Palazzo Caffarelli. It was there that works of sculpture which had previously been housed in the Antiquarium on the Caelian Hill, hitherto reserved for the so-called "minor arts", were moved.

In 1952 additional exhibition space, known as the Braccio Nuovo (New Wing), was created in a wing of Palazzo dei Conservatori.

In 1957, the Musei Capitolini' Junction Gallery was opened on occasion of the Third International Greek and Latin Epigraphy Congress. Built between 1939-41 to join the Capitoline buildings together, it became home to about 1,400 ancient Latin and Greek inscriptions, mostly originating from rooms in the city council's Antiquarium on the Caelian HIll, and in part from the Musei Capitolini themselves.

Serious problems of water seepage and rising damp eventually led to the Junction Gallery being closed to the public, with the rooms in the Museo Nuovo and the New Wing of the Palazzo dei Conservatori also being struck off the museum's itinerary.

In 1997, in order to make space in those areas which required renovation, sculptures from the Palazzo dei Conservatori, the Museo Nuovo and the New Wing were put on temporary display in the unusual exhibition area created in the old Acea power station on the Via Ostiense, known as the Montemartini Power Plant.

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The Goulandris Natural History Museum (GNHM) is a private, non profit institution. - Το Μουσείο Γουλανδρή Φυσικής Ιστορίας (Μ.Γ.Φ.Ι.) είναι Ίδρυμα – Νομικό Πρόσωπο Ιδιωτικού Δικαίου – και έχει χαρακτηρισθεί ως κοινωφελές.

It consists of a 5-member Board of Directors, permanent scientific, managerial and technical staff and is supported by special scientific advisors in the fields of science and education. The Goulandris Natural History Museum was the first museum of its kind to be established in (1964), and the first to initiate environmental education in the country.



The G.N.H.M. is located in Kifissia, 14, N.E. of Athens. It is housed in an elegant neoclassical building of the 19th Century (1875) which was converted and expanded in order to satisfy the Museum’s educational and scientific requirements.

In 1991 the Museum founded in , the Greek Biotope/Wetland Centre (EKBY) with the support of the European Commission (DGXI) and the Greek Ministry of the Environment. EKBY’s overall objective is to help avert and reverse the loss and degradation of wetlands and terrestrial natural ecosystems, primarily in and also in the rest of the Mediterranean region.

Looking forward to the 21st Century and in view of the continuing environmental degradation, the Museum has undertaken to create the GAIA Centre for Environmental Research and Education, with the support of the European Union’s Cohesion Fund. It has been conceived as the Museum of the future, a pioneering centre of scientific research and education, which will contribute to the establishment of a new environmental policy in Greece, in Europe and internationally.

Furthermore, the Museum has renovated the Mastaba Mosque, in Rethymno, Crete, which houses palaentological and geological collections from Crete.


HISTORICAL BACKGROUND

In 1964, Angelos and Niki Goulandris founded the Goulandris Natural History Museum as a workshop for action and research. Their work continued without publicity, in parallel with developmental investments. Theirs was a private investment of funds, time and knowledge for the creation of an institution whose mission was the protection of the country’s precious natural environment and the creation in youth of a new code of values, based on the balanced coexistence of man and the natural environment.

With a team of Greek and foreign scientists, the Museum proceeded to decades of researching and recording the country’s natural (biological and geological) wealth. The research and investigation of the Greek nature has revealed the biodiversity and incomparable beauty of the Greek landscape.

Greece is of particular interest because of its geomorphology, its climate and its geographical position at the juncture of three continents. has, in proportion to its size, the greatest biodiversity among European countries, as well as a high percentage of endemic species.

The Museum first opened as a that collected, studied and recorded the Greek flora. In 1977 it was expanded to cover the fields of zoology, palaeontology and geology and was renamed ‘The Goulandris Natural History Museum’.

In 1983, the “Sparoza” estate in Paiania was bequeathed to the Goulandris Natural History Museum by the British urbanist Jacqueline Tyrwhitt. The garden and the management of the 17,5 acres estate on a hillside in the eastern side of Ymittos, constitute nowadays an example of ecological Mediterranean gardening. From 1994, the “Sparoza” is also the base of the Mediterranean Garden Society, functioning as a valuable source of information addressed to those who have special interest in the plants and the gardens of Mediterranean regions.

In 1991 the GNHM founded the Greek Biotope-Wetlands Centre (EKBY) as an advisory organ to the state, whose mission is to record the Greek wetlands and to prescribe the strategy for their management and protection. Its goal is to promote the sustainable development of the country’s renewable natural resources, as well as those of other areas of Europe and the Mediterranean.

Foreseeing the rapid changes that would occur in the 21st century, the Museum proceeded to a new expansion of its premises with the creation of the GAIA Centre of Environmental Research and Education. The work began in September 1995 and was completed in 2001, with the contribution of the European Union and the Greek Ministry of the Environment. The new building bears the name of the planet Earth –GAIA- a fact that connects it to the mythology, philosophy and science of the ancient Greek world. The word GAIA is first found in Homeric epic poetry.

The Mastaba Mosque, in Rethymno, has been restored by the Goulandris Natural History Museum and has recently opened its gates as the Paleontological Museum of Rethymno (an annex of the GNHM in Crete). It displays the geophysical development of Crete as well as important palaeontological and geological finds of the area.


AWARDS

The Goulandris Natural History Museum has received many honorary awards and prizes for its work, both nationally and internationally:
Silver Medal of the Athens Academy, 1979.
Award from the General Secretariat of the International Museum Council (ICOM) on the International Museums Day, 18/05/1992.
Selected as a ‘Museum of Influence’ among 37 Museums worldwide by Kenneth Hudson in his book ‘Museums of Influence’, Cambridge University Press, 1987
International Onassis Prize ‘Delphi, for Man and the Environment’,1987
Special award as a ‘Pioneering Museum of Europe’ by the Council of Europe, 1984
Special award, European Museums Forum, 2004


fonte: @edisonmariotti #edisonmariotti
http://www.gnhm.gr/en/the-museum/identity-history/
colaboração: 
Αφροδίτη Διαμαντοπούλου


--el

ΤΑΥΤΟΤΗΤΑ

Το Μουσείο Γουλανδρή Φυσικής Ιστορίας (Μ.Γ.Φ.Ι.) είναι Ίδρυμα – Νομικό Πρόσωπο Ιδιωτικού Δικαίου – και έχει χαρακτηρισθεί ως κοινωφελές. Απαρτίζεται από 5μελές Διοικητικό Συμβούλιο, μόνιμο επιστημονικό, διοικητικό και τεχνικό προσωπικό και υποστηρίζεται από ειδικούς επιστημονικούς συμβούλους στον ερευνητικό και εκπαιδευτικό τομέα. Το Μουσείο Γουλανδρή ήταν το πρώτο Μουσείο Φυσικής Ιστορίας που δημιουργήθηκε στην Ελλάδα το 1964, και το πρώτο που έθεσε τα θεμέλια της περιβαλλοντικής εκπαίδευσης.

Το Μ.Γ.Φ.Ι. βρίσκεται στην Κηφισιά, 14,5 χιλιόμετρα Β.Α. της Αθήνας. Στεγάζεται σε ένα κομψό νεοκλασικό κτίριο του περασμένου αιώνα (1875). Διαμορφώθηκε και επεκτάθηκε κατά τα χρόνια λειτουργίας του, ώστε να αποτελέσει κατάλληλο χώρο για τις μουσειακές ανάγκες – επιστημονικές και εκπαιδευτικές – του Ιδρύματος.

Το 1991 το Μουσείο ίδρυσε το Ελληνικό Κέντρο Βιοτόπων – Υγροτόπων (ΕΚΒΥ) στην Θεσσαλονίκη με την συμβολή της Γενικής Διεύθυνσης ΧΙ των Ευρωπαϊκών Κοινοτήτων και του ΥΠΕΧΩΔΕ. Σκοπός του είναι να συμβάλλει στην αναχαίτιση και αναστροφή της απώλειας των φυσικών οικοτόπων της Ελλάδας και της ευρύτερης περιοχής.

Το 1999, εν όψει της νέας χιλιετίας και της συνεχιζόμενης υποβάθμισης του φυσικού περιβάλλοντος, το Μουσείο Γουλανδρή Φυσικής Ιστορίας προχώρησε στην δημιουργία του Κέντρου Περιβαλλοντικής Έρευνας και Εκπαίδευσης ΓΑΙΑ, με την συμβολή της Ε.Ε. και του Υ.ΠΕ.ΧΩ.Δ.Ε. Σκοπός του είναι να λειτουργήσει ως το μουσείο του μέλλοντος, ως κέντρο πρωτοποριακό επιστημονικής έρευνας και εκπαίδευσης, χαράσσοντας μια νέα περιβαλλοντική πολιτική στην Ελλάδα, στην Ευρώπη και διεθνώς.

Παράλληλα στην Κρήτη το Μουσείο Γουλανδρή Φυσικής Ιστορίας αναστήλωσε το Τέμενος Μασταμπά Ρεθύμνου , όπου εκτίθενται παλαιοντολογικές και γεωλογικές συλλογές της Κρήτης.


ΙΣΤΟΡΙΚΟ

Το 1964, ο Άγγελος και η Νίκη Γουλανδρή ίδρυσαν το Μουσείο Φυσικής Ιστορίας (Ν.Π.Ι.Δ.) ως εργαστήριο έρευνας και δράσης. Το έργο τους προχώρησε σιωπηρά, παράλληλα με τις άλλες αναπτυξιακές επενδύσεις. Η δική τους ήταν μία ιδιωτική επένδυση πόρων, χρόνου και γνώσης για τη δημιουργία ενός θεσμού, που θα είχε ως στόχο την εθνική ετοιμότητα για την προστασία του πολύτιμου φυσικού πλούτου της χώρας και τη συνείδηση των νέων για ένα νέο κώδικα αξιών, με γνώμονα την ισόρροπη συνύπαρξη φυσικού περιβάλλοντος και ανθρώπου.

Με ένα επιτελείο Ελλήνων και ξένων επιστημόνων, το Μουσείο προχώρησε επί δεκαετίες, στην έρευνα και καταγραφή του φυσικού (βιολογικού και γεωλογικού) πλούτου της χώρας. Η έρευνα και η μελέτη της ελληνικής φύσης αποκάλυψε την ποικιλία και την απαράμιλλη ομορφιά του ελληνικού χώρου.

Η Ελλάδα παρουσιάζει ιδιαίτερο ενδιαφέρον λόγω της γεωμορφολογίας, του κλίματος και της γεωγραφικής της θέσης στη συμβολή των τριών ηπείρων. Στην Ελλάδα σε σχέση με την έκτασή της, συναντάμε μεγαλύτερη βιοποικιλότητα από κάθε άλλη χώρα της Ευρώπης. Συναντάμε επίσης υψηλό ποσοστό ενδημικών ειδών, φυτών και ζώων, καθώς και ορισμένα σπάνια, που απειλούνται με εξαφάνιση.

Αρχικά, λειτούργησε ως Βοτανικό Μουσείο με αντικείμενο την έρευνα, μελέτη και καταγραφή της ελληνικής χλωρίδας. Το 1977 επεκτάθηκε στους τομείς της ζωολογίας, παλαιοντολογίας και γεωλογίας και μετονομάστηκε σε Μουσείο Γουλανδρή Φυσικής Ιστορίας.

Δέκα χρόνια επιστημονικής έρευνας και συλλογής χρειάσθηκαν στους Έλληνες και ξένους επιστήμονες, καλλιτέχνες και μουσειολόγους για να σχεδιάσουν και να παρουσιάσουν τους πρώτους εκθεσιακούς χώρους στο κοινό, εκπληρώνοντας έτσι την διττή αποστολή του Μουσείου ως επιστημονικού και εκπαιδευτικού κέντρου.

To 1983, κληροδοτήθηκε στο Μουσείο Γουλανδρή Φυσικής Ιστορίας το κτήμα «Σπαρόζα», στην Παιανία, από την Bρετανή πολεοδόμο Jacqueline Tyrwhitt. Ο κήπος και η διαχείριση της πλαγιάς στην ανατολική πλευρά του Υμηττού όπου εκτείνονται τα 17,5 στρέμματα του κτήματος αποτελούν σήμερα παράδειγμα οικολογικής κηπουρικής μεσογειακού κλίματος. Από το 1994, το «Σπαρόζα» αποτελεί την έδρα της Mediterranean Garden Society λειτουργώντας ως χώρος πληροφόρησης που απευθύνεται σε όσους έχουν ειδικό ενδιαφέρον για τα φυτά και τους κήπους των περιοχών της Μεσογείου.

Το 1991 το Μ.Γ.Φ.Ι. προχώρησε στην δημιουργία του Ελληνικού Κέντρου Βιοτόπων – Υγροτόπων (Ε.Κ.Β.Υ.), το οποίο έχει τον ρόλο συμβουλευτικού οργάνου προς την Πολιτεία, ασχολείται με την καταγραφή των υγροτόπων του ελληνικού χώρου και προδιαγράφει τη στρατηγική διαχείρισης και προστασίας τους. Σκοπός του είναι να προωθήσει την αειφορική διαχείριση των ανανεώσιμων φυσικών πόρων στην Ελλάδα και σε άλλες περιοχές της Μεσογείου και της Ευρώπης.

Προσβλέποντας στις ραγδαίες εξελίξεις του 21ου αιώνα το Μουσείο προχώρησε σε νέα επέκταση των εγκαταστάσεών του με τη δημιουργία τουΚέντρου Περιβαλλοντικής Έρευνας και Εκπαίδευσης – του Κέντρου ΓΑΙΑ. Το έργο άρχισε τον Σεπτέμβριο του 1995 και ολοκληρώθηκε το 2000. Στην πραγματοποίησή του συνέβαλαν η Ε.Ε. και το ελληνικό Υπουργείο Περιβάλλοντος, Χωροταξίας και Δημοσίων Έργων. Το νέο κτίριο φέρει το όνομα του πλανήτη Γη – ΓΑΙΑ – γεγονός που το συνδέει με την μυθολογία, τη φιλοσοφία και την επιστήμη του αρχαίου ελληνικού κόσμου. Στα Ομηρικά Έπη απαντάται για πρώτη φορά η λέξη ΓΑΙΑ ως δηλωτική του πλανήτη Γη.

Το Τέμενος Μασταμπά Ρεθύμνου αναστηλώθηκε από το Μουσείο Γουλανδρή Φυσικής Ιστορίας και λειτουργεί ως Παλαιοντολογικό Μουσείο (παράτημα του Μ.Γ.Φ.Ι. στην Κρήτη). Παρουσιάζει τη γεωφυσική εξέλιξη της Κρήτης και σημαντικά παλαιοντολογικά και γεωλογικά ευρήματα της περιοχής.


ΔΙΑΚΡΙΣΕΙΣ

Το Μουσείο Γουλανδρή Φυσικής Ιστορίας έχει λάβει πολλές τιμητικές διακρίσεις και βραβεία για το έργο του, σε εθνικό και διεθνές επίπεδο:
Διάκριση από την Ομοσπονδία Φίλων Μουσείων στο Μουσείο Γουλανδρή Φυσικής Ιστορίας- Κέντρο ΓΑΙΑ για τα εκπαιδευτικά του προγράμματα για ΑμεΑ (2003)
Διάκριση από τη Γενική Γραμματεία του Διεθνούς Συμβουλίου Μουσείων (ICOM) για την Παγκόσμια Ημέρα των Μουσείων (18/05/1992)
Διεθνές Βραβείο Ωνάση «Δελφοί για τον Άνθρωπο και το Περιβάλλον» (1990)
Επελέγη ως «Μουσείο Επιρροής» μεταξύ 37 μουσείων ανά τον κόσμο. (Kenneth Hudson “Museums of Influence” Press) (1987)
Ειδική διάκριση ως «Πρωτοποριακό Μουσείο της Ευρώπης» από το Συμβούλιο της Ευρώπης (1984)
Αργυρούν Μετάλλιο της Ακαδημίας Αθηνών (1979)

Christian Bale vai filmar em museu Museu de História Natural, em Lisboa.


O Museu Nacional de História Natural e da Ciência, em Lisboa, vai ser o palco das gravações de ‘The Promise’, o novo filme de Christian Bale, já nos próximos dias 7 e 8 de setembro. 


Ao que o CM apurou, as filmagens irão decorrer no Anfiteatro Laboratório Chimico do museu, um espaço histórico que remonta ao século XVIII. 

O seu aluguer irá custar à produção mais de 5000 euros por dia. ‘The Promise’, realizado por Terry George (‘Hotel Ruanda’), centra-se nos últimos dias do Império Otomano. 

Christian Bale interpreta um jornalista norte-americano que irá disputar o amor de uma sofisticada mulher – encarnada pela canadiana Charlotte Le Bon – com um estudante de Medicina, papel entregue a Oscar Isaac. 

Recorde-se que os castings para figurantes decorreram nos dias 5 e 6 de agosto, na Escola de Hotelaria e Turismo de Lisboa. 

Dos cerca de 1200 candidatos, 400 foram escolhidos para integrar a equipa de figuração. Logo nessa altura, os avisos em relação ao famoso ator foram claros. "Ninguém vai pedir um autógrafo ao Christian Bale, nem tirar fotografias!", alertou Yaël Moreno, responsável pelos castings. 

As rodagens do filme irão também passar pelas ilhas Canárias. A estreia no cinema está prevista para 2016.

fonte: @edisonmariotti #edisonmariotti Made In Brazil Entertainment
 
http://www.cmjornal.xl.pt/cultura/detalhe/christian_bale_vai_filmar_em_museu.html

Kostaki Mansion - Museum of Trebizond

The mansion which is reorganised as the Trabzon Museum was built by banker Kostaki Teophylaktos between 1889-1913 as a large family accommodation. The names of the architects are unknown. However, the common belief is that the architects were Italian, and materials used in the building were imported from Italy . Following Teophylaktos's bankruptcy in 1917, the mansion was sold to the Nemlioglu family.

The building was used as one of the headquarters during the Independence War, and later on it was prepares for Atatürk's stay on his visit to the city in 1924. Atatürk, his wife and their travel companions stayed in this mansion between 15-17 September, 1924.





After the nationalization of the mansion which was led by Governor Ali Galip Bey and which cost TL 25.000, the building served as the Governors Hall between 1927-1931, and the Inspectors Headquarters between 1931-1937. Passing to the Ministry of Education, the mansion served for fifty years as a girls polytechnic school, and in 1987 it was turned to the Ministry of Culture to be reorganised as the City Museum .

Following the fifteen-year renovation works (1987-2001), the building was recreated and opened to the visitors as the Trabzon Museum with its archaeological and ethnographic exhibitions on April 22, 2001 .


With its all floors, except for the basement, being decorated with hand-drawn designs and its 1500 m2 size, the building still remains to be among the most beautiful examples of civil architecture. After being converted into a museum, the basement of the building was designed as the archaeology hall and founds that date from the early Bronze Age up to the late Ottoman period. Stone, clay, metal and glassware artefacts are on display in this department.

The archaeological display hall has a chronological arrangement and includes four separate sections: The first section that serves as the entrance houses a bronze Hermes statue which was found during Tabakhane Rescue Excavations in 1997 carried out by the Trabzon Museum Administration and which was found to be dating from 200 BC. This statue is among the most valuable pieces of the museum and is in standard human dimensions. Marble foundations that belong to a Roman temple excavated during the same excavations, Roman-period marble construction material and Ottoman-period marble elements are also on display in the same hall. In addition to these, the following are on display in the sections of the archaeological display hall:

The 1st section houses the Early Bronze Age, Urartian age, Iron Age, Hellenistic and Roman art works. The Asurian cylinder seal which is among the most valuable artefacts of the museum is also exhibited here. The 2nd section houses Hellenistic and Roman-period bronze, clay and glassware. The Roman coins are also displayed in this hall. The 3rd section houses Byzantine coins, icons and the Ottoman-period artefacts.

Compared to other floors, the ground floor holds more hand-drawn decorations. Some of the rooms on this floor still have the original silk wallpapers. Partly staying loyal to its original spaces, this floor was redesigned as a Konak (mansion) Display Section. This section has the following (from right to left): the living room, the study, the common living hall, the dining room and the game room. The present-day waiting hall and cafeteria are also serving on this floor. The then-entertainment hall is now used for musical performances, conferences and art exhibitions, and has an impressive baroque balcony.

The 1st floor that is rather simple in comparison with the ground floor is reorganised as the ethnographic section. Islamic art, armoury, handwritings, embroideries and costumes are displayed on this floor. Also the bedroom that was prepared for Atatürk and a section arranged for President Cevdet Sunay (the 5th president of Turkey ) are on this floor. The original furniture of the room in which Atatürk stayed in 1924 was bought from the second owner of the mansion – the Nemlioglu family – for display. The mezzanine is reorganised as the Trabzon Museum Administration and used as the administration.

The architecture and decorations used in this building reflect the 150-year-old baroque rococo tradition of Europe that became popular when the Ottoman Empire was slowly abandoning its own artistic and architectural characteristics. The unique use of these styles, which were preferred by palace architects, makes this mansion the only outstanding example of its kind in the city of Trabzon .

The baroque style is an art that adds a dynamic element, a depth of shape and structuralism to the artistic view. It reflects European art. The effect of the 19th century industrial revolution in changing the appearances of the buildings and the attempts to revive the old values was widespread among all Western societies; however, this had not been enough to keep the Western effects away from building. The examples of the palaces and mansions that were built with this baroque/rococo influence during the late Ottoman time and that are now called National Palaces could be listed chronologically as follows:

Aynali Konak Kasr, Dolmabahçe Palace (1842-1856), Ihlamur Kasri (1849-1855), Kuçuksu Kasri (1856-1857), Maslak Kasrs (1861-1865), and Yildiz Sale Kiosk (1st section, 1879-1880; 2nd section, 1889; 3rd section, 1898). The Kostaki Mansion , which is reorganised as the Trabzon Museum , is also a fine example of this rococo (little baroque) tradition. Just as it is true for all those examples given above, the architects and hand-drawing artists of the Kostaki Mansion are Italian. The impression of desire and eternity beyond limits are related with the baroque style. The imaginary scenes, impressive portraits inside the domes and on the walls serve that aim, while the art work becomes more of a decorative element.

As a remarkable effect of baroque/rococo tradition, the main hall's four columns in the Kostaki Mansion were completed in the marmorina (imitation marble) technique. These columns were worked in the late Roman-period Corinthian style. Marmorina was also used in plaster mouldings on the ceilings in the mansion.

In reality, the eclectic architectural style that was used in this mansion is what makes it so special. As part of this style, the Ionic Hymation decoration blended with lotus-palmet lines at that level where the walls reach the ceiling are worth seeing. The effect of neo-classicism created with Venus Adonis and late Roman figures of Eros on the ceiling of the hall is breathtaking.

The griffons (mythological being-winged lion) that meet you on both sides as pass through the entrance, the art-nevo style handcrafts displayed on the glass frames in the centre of the entertainment hall, the artwork that were placed in the medallions and that depict the city walls and the Nemlioglu bridge in Degirmendere area are worth seeing.

The splendid ceiling decoration of the entertainment hall (which probably was the fortune telling room) with the zodiac, and the medallions around the centre of the ceiling with Zeus and Hermes's figures are really masterpieces. The fish and bread scenes together with wine bottles that decorate the ceiling of the dining room together with the fantastic craftsmanship practised for the service window tell us that they are the products of some elite artists.

Stone tiles in the mosaic technique were used on the floors in stone spaces of the building. The walls of the ground floor and the wall side of the stairways leading to the administrative floor are coated with leather or sometimes with wood up to 1 metre high from the floor. While the outside of the building reflects Italian architecture, the woodwork inside the building signals Russian craftsmanship.

Local stone blocks cut very neatly decorate the façade of the mansion while granite was used in the basement and rose andesite was preferred for the other parts. There are one-metre-high spaces between the sections. The interior of the mansion was designed in the Baghdadi technique with dominant use of timber.

The eclectic architectural style used in the mansion is also visible in the roof. The octagonal tower on the north east corner of the roof is covered with fish skin-like lead covers. The octagonal tower on the North West corner of the mansion has a conic dome covered with fish skin-like lead covers. The roof of the rectangular room with oval windows on the north-east corner of the storey is a terrace. A glass roof covers the entertainment hall on the ground floor. The other sections are covered with a roof of traditional red tiles.

This eclecticism can also be seen on the facade of the building. The doors of the balconies on the façade also serve as the light openings. The sizes of the rectangular windows vary depending on the size of the rooms. The functions of the window shutters are twofold: depending on the frequency of use, some shut horizontally some shut vertically. When they are not used at all they are hidden in the wall. In order to increase the architectural aestheticism, the tower placed on the south-eastern corner of the mansion is decorated with a line of blue tiles above the windows. Like the glasses used in the inner spaces, these tiles were also imported from Italy . The tyke (the goddess, protector of the cities) statue at the entrance of the front garden makes it clear that the influence of neo-classicism did continue with the garden setting too.
Among the other elements of the garden is the decorative pool with its rather different fountain at the south-eastern corner. The garden houses pine and palm trees with a large variation of flowers

fonte: @ediusonmariotti #edisonmariotti
http://www.karalahana.com/english/archive/Kostaki-Mansion-Museum-of-Trebizond.html
colaboração: Zeynep Usta

Museu Ferroviário Regional de Bauru, São Paulo, Brasil, completa 26 anos em 2015

Apesar de ter sido criado em 11 de julho de 1969 por lei nº 1425, foi só em 26 de agosto de 1989 que o Museu Ferroviário Regional de Bauru iniciou sua exposição permanente – elaborada pela museóloga Telma Lamar. Dedicado a contar parte da história da ferrovia, o local mantém programação que inclui shows, oficinas, workshops, apresentações teatrais e monitorias educativas às escolas e projetos sociais. 

Museu Ferroviário relembra a história marcante da Noroeste Brasil (Foto: Alan Schneider/G1)

Segundo a Prefeitura de Bauru, soma somente neste ano cerca de 5 mil visitantes, sendo um terço realizadas por pessoas de outras cidades, estados e países (como Canadá, Escócia, Japão, Estados Unidos). 

Segundo o secretário de Cultura, Elson Reis, “apesar das limitações financeiras, estamos conseguindo avançar na melhora de nossos espaços ‘museais’ para melhor difundir nossa história, assim como melhorar nossos espaços destinados as reservas técnicas para proteção de nosso acervo.” 


Mais
A área de pesquisa foi totalmente reformulada e recebe semanalmente pesquisadores das áreas de história e arquitetura, engenharia a fim de consultar seu acervo sobre a ferrovia e o município de Bauru.

Localizado ao lado da antiga estação da Estrada de Ferro Noroeste do Brasil, sua área expositiva de longa duração é renovada de ano em ano. O local possui uma expografia com iluminação especial, além do cuidado com a conservação e preservação do acervo.

A área de pesquisa foi totalmente reformulada e recebe semanalmente pesquisadores das áreas de história, arquitetura e engenharia, a fim de consultar seu acervo sobre a ferrovia e o município de Bauru.

O Museu Regional Ferroviário de Bauru fica na rua Primeiro de Agosto, quadra 1, Centro. Funciona de terça a sexta-feira, das 8h30 às 12h e das 13h30 às 17h. Aos sábados, das 8h30 às 13h30. 

fonte: @edisonmariotti #edisonmariotti
http://g1.globo.com/sp/bauru-marilia/noticia/2015/08/museu-ferroviario-regional-de-bauru-completa-26-anos-em-2015.html
http://www.jcnet.com.br/Cultura/2015/08/museu-ferroviario-regional-26-anos-a-mostra-hoje.html