Page 51 - Studia Universitatis Hereditati, vol. 5(1) (2017)
P. 51
ia universitatissometimes more important than its objective sational archaeological find in an extraordinary
apox yomenos – underwater cultur al her itage and museum ... 51 value, and here the marketing can play a key role. way.
Although it is clear that the excellence of a cul
tural property will probably lead to its positive They have designed a solution to present a
perception, it is important to estimate wheth perfect sculpture, set outside any chronological
er the presentation of the cultural property is or physical context, while at the same time pro
perceived as a special event, an unforgettable or viding an exciting and comprehensible museum
pleasant experience. exhibition capable of presenting the statue and
its story to the general public.
The promotion of cultural values should pri
marily target the local population, which should The Museum of Apoxyomenos and its ex
become fully aware of the richness of their cul hibition represent the spatial materialisation of
tural heritage. Cultural heritage and a museum, the ceremony of passing through various rooms
as its main promoter, play a very important role and halls on the way to the sculpture. The archi
in the development of a local community’s spe tecturally shaped body of the new Museum has
cific identity, and without it, one destination can been inserted in a space defined by the exterior
hardly be distinguished from other similar local walls and the roof of the existing Kvarner Pal
ities. On the island of Lošinj, the most important ace. The museum is built inside the shell of an
part of the local cultural heritage is underwater old building, with the architects incorporating a
archaeological finds and sites, used to create spe completely new design within it, “a house with
cific experiences and to attract visitors and place in a house”. The structure is formed inside a steel
this destination on the market. An unforgetta structure.
ble experience or a special moment are key fac
tors for the perception of the museum, and some The exhibition display is defined by the idea
of the main reasons for the selection of this des of passing through the building by visiting nine
tination. scenes and transition zones shaped by time and
space, and accompanied by the corresponding
Until the Museum of Apoxyomenos was audio background. Visitors enter the museum
opened, neither the local nor the regional tourist via the multi-functional atrium, known as the
industry counted on museums as one of the main “blue room”. The striking room is coloured deep
baits that could attract contemporary tourists. blue, transforming the inner walls of the palace.
The reason for this lay in the fact that museums
could not or did not know how to place their From there an escalator takes groups of up
cultural products on the tourist market, or they to 20 through a white-painted tube, leading
lacked the support of the local tourist boards to them to the main exhibition hall – the “black
achieve it. Properties and artefacts that form our room”. In this cold, dark area, visitors can ex
cultural heritage can be seen as cultural products perience what it feels like being 45 m under the
which should be wrapped nicely and offered on sea, and they can learn about the history, con
the market. In the case of museums, the product text, discovery, and restoration of Apoxyomenos
should be wrapped nicely in a story. Thus the key from illuminated displays detailing the statue’s
question for any museum is how to tell the story. past.
The Museum of Apoxyomenos has succeed Visitors then move on to the “colourful
ed in doing it. The fact that this is a specific mu room” – an amphitheatre clad in merino-wool
seum, dedicated to a sole exhibit, has greatly carpet designed by Studio KulenTurato, with its
impacted the development and design of its per bright and contrasting design intended to create
manent exhibition. With their inspired vision the feeling of walking over a seabed, symbolis
of the building and its interior, architects Tura ing the unique story of how the statue was re
to and Randić have presented this globally sen covered and its visual history. The “red passage”
is next, in the form of a narrow staircase leading
to the “yellow room” – a media-inspired room
apox yomenos – underwater cultur al her itage and museum ... 51 value, and here the marketing can play a key role. way.
Although it is clear that the excellence of a cul
tural property will probably lead to its positive They have designed a solution to present a
perception, it is important to estimate wheth perfect sculpture, set outside any chronological
er the presentation of the cultural property is or physical context, while at the same time pro
perceived as a special event, an unforgettable or viding an exciting and comprehensible museum
pleasant experience. exhibition capable of presenting the statue and
its story to the general public.
The promotion of cultural values should pri
marily target the local population, which should The Museum of Apoxyomenos and its ex
become fully aware of the richness of their cul hibition represent the spatial materialisation of
tural heritage. Cultural heritage and a museum, the ceremony of passing through various rooms
as its main promoter, play a very important role and halls on the way to the sculpture. The archi
in the development of a local community’s spe tecturally shaped body of the new Museum has
cific identity, and without it, one destination can been inserted in a space defined by the exterior
hardly be distinguished from other similar local walls and the roof of the existing Kvarner Pal
ities. On the island of Lošinj, the most important ace. The museum is built inside the shell of an
part of the local cultural heritage is underwater old building, with the architects incorporating a
archaeological finds and sites, used to create spe completely new design within it, “a house with
cific experiences and to attract visitors and place in a house”. The structure is formed inside a steel
this destination on the market. An unforgetta structure.
ble experience or a special moment are key fac
tors for the perception of the museum, and some The exhibition display is defined by the idea
of the main reasons for the selection of this des of passing through the building by visiting nine
tination. scenes and transition zones shaped by time and
space, and accompanied by the corresponding
Until the Museum of Apoxyomenos was audio background. Visitors enter the museum
opened, neither the local nor the regional tourist via the multi-functional atrium, known as the
industry counted on museums as one of the main “blue room”. The striking room is coloured deep
baits that could attract contemporary tourists. blue, transforming the inner walls of the palace.
The reason for this lay in the fact that museums
could not or did not know how to place their From there an escalator takes groups of up
cultural products on the tourist market, or they to 20 through a white-painted tube, leading
lacked the support of the local tourist boards to them to the main exhibition hall – the “black
achieve it. Properties and artefacts that form our room”. In this cold, dark area, visitors can ex
cultural heritage can be seen as cultural products perience what it feels like being 45 m under the
which should be wrapped nicely and offered on sea, and they can learn about the history, con
the market. In the case of museums, the product text, discovery, and restoration of Apoxyomenos
should be wrapped nicely in a story. Thus the key from illuminated displays detailing the statue’s
question for any museum is how to tell the story. past.
The Museum of Apoxyomenos has succeed Visitors then move on to the “colourful
ed in doing it. The fact that this is a specific mu room” – an amphitheatre clad in merino-wool
seum, dedicated to a sole exhibit, has greatly carpet designed by Studio KulenTurato, with its
impacted the development and design of its per bright and contrasting design intended to create
manent exhibition. With their inspired vision the feeling of walking over a seabed, symbolis
of the building and its interior, architects Tura ing the unique story of how the statue was re
to and Randić have presented this globally sen covered and its visual history. The “red passage”
is next, in the form of a narrow staircase leading
to the “yellow room” – a media-inspired room
