Open-air Museum Research Articles

The Role of Pharmaceutical Scientists in the Formation of a Healthy Lifestyle as a Value Orientation.

This article focuses on the role pharmaceutical scientists play in achieving social well-being, in particular in the formation of a healthy lifestyle as a value orientation among students and the public in historical retrospect. The following set of research methods was used: a general scientific method, and a historical (chronological, logico-historical, retrospective), personalized, empirical method (including the questioning of pharmaceutical interns and the analytical processing of questionnaires). The territorial boundaries of the study cover Slobozhanshchyna, a historical and geographical region centered in Kharkiv. The educational activities of Slobozhanshchyna’s pharmaceutical scientists during the 19th and early-20th centuries, as well as in the modern period, are presented. Attention is drawn to the fact that the role of pharmaceutical scientists in forming the environment for the development of a harmonious, spiritually and physically developed personality in historical retrospect is important. It is noted that the founders of pharmaceutical education in Ukraine initiated educational activity as a means for promoting the formation of a healthy lifestyle in the educational space and outside of the Imperial Kharkov University. The changes in the public and educational activities recommended for forming a healthy lifestyle among Slobozhanshchyna’s medical scientists and naturalists during the Imperial era have been generalized. The analysis of the research sources and questionnaires of pharmaceutical interns allowed us to assert that, in modern times, Slobozhanshchyna’s pharmaceutical scientists are trying to organize socially useful activities, taking into account the best achievements of the founders of pharmaceutical education in Ukraine. The “orientation to a healthy lifestyle of representatives of the institution of higher pharmaceutical education” has been proposed. This includes the adoption of a set of material, social, and spiritual benefits and ideals considered to be objects of purpose in the pursuit of a healthy lifestyle by employees and students (i.e., part of the implementation of the mission of the University), and using these as tools to meet the needs of both university representatives and ordinary citizens. This article contains a number of factors that mediated the formation of a healthy lifestyle as a value orientation of an individual, including: (a) the circumstances of the individual’s life (the conditions of education of the individual); (b) the individual’s consciousness reflecting the general and specific conditions of their personality formation; (c) the motivation of the real behavior mediated by the subject’s activities. The presence of these factors was identified as typical for the health-saving educational environment. This article provides recommendations regarding the following measures for the organization and effective promotion of a healthy lifestyle by modern pharmaceutical scientists: provide an opportunity to study the peculiarities of the organization of educational activities by scientists of the past to students and specialists in the pharmaceutical field; open museum expositions devoted to the problem of healthcare; conduct master class lectures and educational events devoted to the problem of forming a comprehensively developed personality; involve students in joint research on the problem of active longevity; provide informational support to educators and the public through scientific and popular science publications; conduct awareness-raising work with the population in order to create a health-saving environment.

Open-air Museums – the Future of the Presentation of Spiritual and Architectural Heritage

The origins of “open-air museums” date back to the nineteenth century and from the very beginning were closely linked to efforts to capture, preserve and present folk culture. However, during the course of the twentieth century, especially in its later part, the concept of open-air museums began to expand. Open-air museums were founded that focused on urban, industrial and military environments, ecological issues, or on charting the life of prehistoric and ancient cultures. Along with this, the methodological concept for this specific type of institution saw some development, and the interdisciplinary approaches expanded in response, covering a wide range of humanities as well as natural sciences. Besides the academic approach, a social and community overlap is also required from these institutions. This article poses the question of how the concept of open-air museums can continue to develop and what direction the role of presenting cultural heritage in an open landscape could take in the future. The arguments herein are based on the philosophical and spiritual dimension of man’s dwelling in the world and his relationship to the landscape in which he lives. We believe that the future of open-air museums should, wherever possible, focus on the preservation of monuments in their historical context and especially in their natural links in terms of landscape, urbanism and architecture. To ensure this concept remains sustainable, it is necessary that these monuments be involved in the life of villages and communities, ideally also on the basis of cooperation between academia and local entities, which are usually villages or municipalities and citizens’ initiatives. Examples of such a direction can be seen in the founding and running of Rochus Park in the Uherské Hradiště region and in the concept of the association of villages called Mariánská zahrada in the Jičín region, both in the Czech Republic.

Use of Symbolic Reconstructions in Open-Air Museums

The Russian-Ukrainian war, which took on a full-scale form in February 2022, became a tragedy and set the question of restoring lost monuments with new vigour. Therefore, the publication which aims to identify the specific features of symbolic reconstructions’ use for the representation of lost architectural monuments becomes especially relevant. Based on a comprehensive architectural-typological and comparative analysis of the renovation of architectural structures and non-existent objects, open-air exhibiting methods in Ukraine and the world (fixation, interpretation, revitalisation, reconstruction, and modelling), the study reflects on the possibilities to preserve the history of destroyed monuments. Open-air museums offer a wide range of activities allowing to include monuments that are not subject to further functional adaptation into the expositions. The study proposes to use symbolic reconstructions to reproduce and exhibit lost monuments. Graphic (the simplest and most universal, consist of the two-dimensional image demonstration), physical (larger-scale, permanent, three-dimensional stylised installations that carry information about the lost monument’s nature), virtual (the most flexible and the most promising, do not require the direct impact on the exhibit, include the use of augmented reality technologies), and performative (one-time or temporary activities, most often are used in the associative landscapes’ territories) symbolic reconstructions on the example of their use in museums and open-air exhibitions were examined in detail. The effectiveness of these measures in open-air museums was considered and recommendations for their use, which can become the basis for further implementation in practice in Ukrainian exhibition institutions, were formulated

The cultural symbolism of the Ulytau landscape

The article considers the trends in the revival of the cultural landscape of Ulytau. Documents on historical objects are analyzed at the level of political decision-making and conceptual tasks to restore the significance of Ulytau, one of the most “hidden” regions of the Soviet period. It is considered how the symbolic content of historical objects located in the Ulytau region is being updated, and how these objects are being reconstructed into the large complexes of tourism content. From the first years of independence, the revitalization process of the region began with the First Kurultay that united Kazakhs all over the world in 1992 and continued until the celebration of the 750th anniversary of the Golden Horde. An inventory place of the historical and cultural significance of Ulytau was carried out within the framework of strategic programs conducted by the state including the special project “The Sacred Geography of Kazakhstan” within the framework of “Rukhani Zhangyru”. On the one hand, Ulytau is considered the shanyrak of the Kazakh Khanate, a symbol of statehood, identity, and unity; on the other hand, it is a region with a high concentration of sacred objects and a high potential for ethnographic tourism. The author examines the symbolism of the Ulytau landscape by means of three different semantic positions: the first, Ulytau is the beginning of statehood, a symbol of identity; the second, it is considered as an open-air museum; the third, as a tourist center and analyses its cultural potential. The article has been developed on available information published in open Internet sources, archival documents, and scientific works published as a part of the special project “The Sacred Geography of Kazakhstan”, and empirical data taken on the bases of expert in-depth interviews.

Dokumentace a prezentace venkovského stavitelství v ČR: historický vývoj a současné možnosti a limity

Documentation and presentation of vernacular architecture in the Czech Republic: Historical overview and possibilities and limits of contemporary approaches The study presents an analysis of the basic trends in the documentation and presentation of vernacular (peasant, rural) architecture in the Czech Republic over the past 150 years. Based on this analysis, four basic stages of documentation of vernacular architecture were identified. They differ primarily in the institutional background and the degree of professionalisation of the activities carried out, the theoretical-methodological and epistemological conceptualisation of rural architecture in the fields of art history on the one hand and ethnology on the other, the degree of systematicity and spatial complexity of research and documentation, and finally its objectives (documentation carried out solely for the purpose of scientific research vs. documentation aimed also at popularisation and presentation of results to the public). The developmental stages of documentation and presentation of vernacular architecture are: (a) Stage of haphazard lay and expert documentation with presentation objectives (2nd half of the 19th century to the beginning of the 20th century); (b) Stage of haphazard mainly expert/scientific documentation without presentation objectives (beginning of the 20th century to the 1950s). (c) Stage of systematic professional/ scientific documentation without presentation objectives (1950s to 1990s); (d) Stage of haphazard and systematic professional/scientific documentation with presentation objectives and use of new technological possibilities (1990s to present). Using the specific example of the VISKALIA project (Virtual Open Air Museum), the article also points out the possibilities and limits of contemporary documentation and presentation of rural architecture offered to ethnology and ethnology-oriented museology and related fields by contemporary trends in the so-called digital humanities and heritage science.

The founding of first Russian Open-air Museum of Architecture in Kolomenskoye: The hard struggle of P.D.Baranovskiy

This article considers the founding and first years of existence of museum in Kolomenskoye. The history of the museum in 1923–1930 is traced basing on a rich archive material from archive of Kolomenskoye museum-reserve, Central state archive of Moscow region and Department of Written sources of State Historic Museum. In this article, the condition of architectural monuments in Kolomenskoye during first years after the revolution and their use by different organizations is described in detail. The administrative struggle of Petr Dmitrievich Baranovskiy for transfer of monuments of former tsar’s estate of 16th–19th centuries to museum is in focus. The author considers difficult issue of museum — church relations at that period and their influence on the attitude of Kolomenskoye dwellers and dwellers of another nearest villages to the museum. The article also touches upon the problem of museum’s security and its existence in conditions of hard criminal situation of first post-revolutionary years. The article indirectly considers the issues of the formation of museum staff and restauration of the monuments. Above the frames of this article are the issues of the formation of the museum’s collection and biographies of its first employees, including the biography of P.D.Baranovskiy, about whom many works have already been written. The actuality of the theme of founding of the museum in Kolomenskoye is due to the forthcoming one hundred anniversary of the museum. At this moment, there are no researches in scientific literature, which could give a holistic view of the founding of the first open-air museum of architectural monuments in Russia in former summer residence of Russian tsars.

Budownictwo drewniane wsi kaliskiej i sieradzkiej w muzeach. Przyczynek do porównawczej historii architektury wiejskiej w guberni kaliskiej

Rural Wooden Architecture of the Kalisz and Sieradz Regions Preserved in Museums. An Introduction to Comparative History of Peasant’s Architecture in the Kalisz Governorate The aim of this contribution is to offer a brief outline of changes in forms and typologies of rural peasant architecture across the Kalisz Governorate (gubernyia) at the turn of the nineteenth and twentieth centuries. What kind of factors were shaping construction and typological arrangements of such kind of building types, including peasants homes and different agricultural buildings? Comparing architectural objects from the areas of Kalisz and Sieradz, preserved in the local open-air museums, the Author shows differences and similarities of the housing and production or utility spaces that framed settings for the changing conditions of the rural life at that time.

Lauminėjimas muziejuje: lietuvių liaudies žaidimo užrištomis akimis gyvoji rekonstrukcija

Blind Man’s Buff at the Museum: A Live Reconstruction of the Traditional Lithuanian Folk Game Lauminėjimas This article analyses the live reconstruction of Blind Man’s Buff as the version of traditional Lithuanian folk game Lauminėjimas at the Open-Air Museum of Lithuania. The article examines the reconstruction as a performative process, when the game creates a situation during which moving in a large and complex exhibit, a dwelling surrounded by small exhibits, the participants unexpectedly encounter authentic exhibits as an ethnographic entity. Participants acquire individual experiences of getting to know the dark period of the Christmas season in many ways in the context of prior and acquired knowledge in the museum through symbols encoded by the museum staff. Key words: live reconstruction, performativity, authenticity, the Open-Air Museum of Lithuania.

Synthesis of landscape and architecture as a means of expressing national identity

The article raises the issue of interaction between architecture and natural environment in the expression of the people’s national identity. On the examples of different peoples’ cultures means of expression of national color, characteristic landscape receptions are analyzed. The means of national identity expression on the Ukraine territory are studied in detail; the important role of open-air museums in this process is shown. The importance of preserving national identity in the modern conditions of globalization and international architecture is proved. The classical world principles of combining landscape and architecture as expressions of the country national identity are analyzed, as well as the ways of solving this problem in Ukraine by ways of organizing open-air museums, ethnographic corners and fragmentary use of folk motifs in modern parks.

Archiwistyka, archiwa i archiwalia w wybranych współczesnych podręcznikach do nauczania historii

The article aims to determine whether content related to archives, archival records and archival science appears in history textbooks. The author was analysing the textbooks for primary, lower-secondary and secondary schools included in the list of the Ministry of Education of 2012. Archives appear occasionally in the narrative part of history textbooks. They are relatively common in publications addressed to primary schools. Nine out of eleven analysed textbooks for primary schools included such information. Archives and archival content are found almost exclusively in the textbooks for four-grade classes in the chapters about history as a science and historical source and relics. There, archives are presented as institutions collecting and storing historical sources. The functions of arranging records and enabling access to them were few and far between. It is striking that all textbooks emphasize the role of museums, open-air museums, archeological excavations and oral history for historical research. If archives appear in history textbooks, they are presented rather in the background. The authors of several textbooks took care to provide information on ancillary historical disciplines, always excluding archival science. In nine analysed textbooks for lower-secondary schools, archives are completely absent. When discussing historical sources, textbooks for the first grades emphasize the role of archeology and museum relics. Authors omitted archival science during describing the ancillary historical disciplines. Only one textbook for secondary schools included information about archives and highlighted their role in historical research.

Lived monuments: A microarchaeological study of monumental architecture in the tell-site of Arslantepe (Malatya, Turkey)

Inspired by concepts of monumentality and materiality, this article discusses the results of the first microstratigraphic study conducted on the monumental buildings of the pre- and early historic site of Arslantepe (Malatya, Turkey). The earthen surfaces (floors and fixtures) of three monumental buildings—two belonging to the 4th and one to the 1st millennium BCE—were analysed by means of micromorphology, sometimes in combination with chemical spot-tests. Sampling strategies were adapted to these contexts, which are part of an open-air museum and required minimally invasive procedures. The results show a recycling of tell-construction material and the use of selected plasters for specific features, as well as the different maintenance practices and activities traced in apparently homogeneous surfaces. This revealed a multifaceted picture of how these monuments were experienced and given meaning to. Ultimately, by following a deposit-oriented approach, monuments go from representing mere embodiments of ideology and inequality to being understood as the multi-layered outcome of practices and different forms of material engagement with the built environment.

Aleksei Petersoni roll vepslaste ja udmurtide rahvuslikus taassünnis (1980.–1990. aastad)

Estonian ethnographers have always taken a keen interest in Finno-Ugric peoples, their linguistic kin. The golden age of Finno-Ugric studies in Estonian ethnography began in the 1960s and lasted until the early 1990s. The State Ethnographic Museum of the Estonian SSR in Tartu (the current Estonian National Museum) emerged as the center of Finno-Ugric research with its long-term director Aleksei Peterson at the helm of the enterprise. Estonian ethnographers visited almost all Finno-Ugric peoples, with the major focus given to the Veps in the 1960s and 1970s, and to the Udmurts, in the 1980s. The museum acquired an awe-inspiring number of ethnographic objects, descriptions, photographs, drawings and films. Did all this benefit the peoples visited? What was the relationship of Estonian ethnographers with the subjects of their research? Did their plight affect Estonian scholars? The Estonian ethnographers had a high regard for the ethnic particularities, languages and traditional folk cultures of the kindred peoples and resisted their disappearance. Their views contradicted the Soviet nationalities policy which until the mid-1980s, emphasized the convergence and assimilation of nations. The interaction between the Estonian ethnographers and the Veps and Udmurts during the long series of expeditions helped to stimulate the suppressed and weak ethnic self-esteem of the latter. The mid-1980s marked the beginning of the era of Gorbachev’s glasnost and perestroika. As a result, national issues could be discussed openly, and it was at that time that the national revival of the Veps and Udmurts began. Estonian ethnologists embraced the process and actively contributed to it. This is especially true of Peterson, who was quite well known in Vepsia and Udmurtia and had a certain authority there. In his speeches at various events and in the press, Peterson encouraged the use of Veps and Udmurt in public life, including the schools. He emphasized the need to place a greater emphasis on traditional folk culture, which he considered to be critical to the national identity of small nations. His ideas influenced the creation of the open-air museum of the Udmurts. He supported the territorial autonomy of the Veps. He could speak as a messenger of perestroika whose word had weight. Thus Veps and Udmurt activists and nationally-minded ordinary people received inspiration and moral support from Peterson (and other Estonian ethnographers) for the preservation of their mother tongue, national identity and cultural heritage.

John Morton Coles (1930-2020). From Palaeolithic Studies to Wetland Archaeology. A Commemoration

This article is dedicated to John Morton Coles (1930-2020), Professor of European Prehistory at Cambridge University between 1980 and 1986, Fellow of the British Academy, author of the highly regarded scientific works, teacher and editor. He dealt with several archaeological periods and was involved in different field projects and conducted numerous excavations. At Cambridge, in the Department of Archaeology, John Coles collaborated with such significant figures as Professors Grahame Clark and Glyn Daniel. John Coles devoted much of his time to experimental and wetland archaeology as well as to prehistoric rock carvings in Sweden and Norway. John Coles was awarded an honorary doctorate by Uppsala University. He was the advisor of Biskupin’s archaeological open-air Museum in Poland.

“Only this Theatre, Faithful and True, Can Preserve the Distinctive Identity...”

Abstract This article explores the complex role played by the staff of open-air museums in the Czech Republic, their relationship with the communities they work with, and their impact on the intangible cultural heritage outside the museum gates. It further explores the considerable role played by researchers active in policy making at open-air museums. The position of open-air museums is rather intricate from the perspective of communities and the state administration, with many different roles and tasks that allow and sometimes even encourage open-air museum employees to transform heritage rules or create new ones. Our conclusions are based on several case studies illustrating how the staff of Czech open-air museums build their relationships with communities, groups and individuals and how this collaboration effects the safeguarding of the intangible cultural heritage. Ethical issues related to museum interpretation and perceptions of interpreted elements by the public are also discussed.

Archaeological monuments of Akterek as an open-air museum

The article presents the results of the analysis of the archaeological monuments of the Akterek, andthe assessment of their significance as an object of the historical and cultural heritage of Kazakhstan. Atpresent, the revival and preservation of the historical and cultural heritage is being actualized and acquiresspecial significance. In this regard, the authors aim to show the importance of one of the optimaland effective ways to preserve and popularize the historical and cultural heritage – museumification, etc.transformation of movable and immovable monuments of history and culture, as well as natural objectsinto objects of museum display. Thus, a museum monument will provide an opportunity to learn moredeeply and understand the historical roots of our ancestors, to restore the people’s historical memory.However, the most important thing in this matter is to give new life into the historical monument.The results of studies of the monuments of the Akterek, carried out archaeological expedition of theCentral State Museum of the Republic of Kazakhstan in 2006-2021, are shown. Coupled with the resultsof earlier studies (in 1898-1988), proving that the monument is characterized by special uniqueness andrarity: several cultural and historical layers, including monuments from the sites of primitive people tomonuments of urban culture of the Middle Ages. The article also provides a historiography of the studyof archaeological monuments on the territory of the Akterek tract.Key words: archeology, burial mounds, settlements, petroglyphs, museumification, monuments,landscape, sacral.

Muuseumikogudes ja suulises ajaloos säilib ajalik looming / Transient treasures are kept in museums and memories

Vanda Juhansoo. Artist or Eccentric Woman?Estonian Museum of Applied Art and Design18.01.–01.03.2020, Tartu City Museum 19.06.–26.09.2021.Exhibition curated by: Andreas Kalkun (Estonian Literary Museum)and Rebeka Põldsam, graphic design: Stuudio Stuudio.
 Vanda Juhansoo (1889–1966) was by education a porcelain painter and furniture designer; she was, however, known as a textile and craft artist, traveller, polyglot, notable art teacher, interior decorator, advocate of women’s craft, soroptimist and gardener. Sometimes she was also known as the ‘Witch of Valgemetsa’. She graduated from the Central School of Applied Arts Ateneum in Finland, which makes her one of the first Estonian women artists with a higher education at the beginning of the 20th century.
 Even though Vanda Juhansoo specialised in ceramics and furniture design, as a student she received the most recognition (as well as travel grants) for her embroidery. From then on, Vanda spent her next thirty summers travelling in Europe. Between 1912 and 1945, she exhibited her ceramics, embroidered doilies and curtains in various places, including the first ever Estonian women artists’ show in 1939. Vanda Juhansoo worked with the Kodukäsitöö limited company, that had been established in 1927 with the aim of reducing unemployment among women. Alongside craft and women’s magazines, the Kodukäsitöö was the most significant promoter of women’s craft in Estonia, regularly organising exhibition-sales and taking Estonian craft to international shows. Unfortunately, most of Vanda Juhansoo’s oeuvre was so ephemeral that there is very little trace of it now. The Karilatsi Open Air Museum near Vanda’s home in Valgemetsa and the collection of the Estonian National Museum hold items given to the museum by Vanda’s cousin’s family, which Vanda herself most likely wore – these are made to fit her petite size and there are photos of Vanda wearing these garments. Her signature style used floral motifs embroidered onto the thin textiles she wove herself. Like a painter, she spent hours embroidering, casting ethnographic patterns aside when creating her original designs. Even though the Estonian National Museum has exhibited Vanda Juhansoo’s embroidered cardigans as examples of Estonian folk art, these are, in fact, clearly original artistic designs.
 After World War II, Vanda stopped exhibiting and publishing her patterns in craft magazines. Instead, she committed herself to teaching drawing and supervised a number of children’s art classes in Tartu that produced many wellknown artists. The memory of Vanda has largely been kept alive by her students, who remember her as a particularly bright and optimistic person. In addition to her embroidery, Vanda’s original style remained visible as she expressed it in her memorable multicoloured hair nets and abundant jewellery, as well as in the striking Valgemetsa summer house and garden.
 The curators tried to trace back and recreate some of the wonderful world that Vanda created all around herself with her designs, handicraft, paintings, photos and memories from museums, archives, and from people who knew her. Looking at the life, work and legacy of Vanda Juhansoo, the exhibition asked: What were the choices for women artists in Estonia at the beginning of the 20th century? Why are Vanda’s works found mainly in the collections of ethnographic memory institutions rather than in art museums? Why did Vanda become the so-called ‘Witch of Valgemetsa’ and not a recognised applied artist?
 In the present review, the reception of the exhibition is summarised and juxtaposed with the few studies on Vanda Juhansoo’s textile work from the perspective of craft studies and the history of applied art.

Mural Art Conservation Data Recording (SCIMA): The Graart Project

Urban art in Italy is experiencing a remarkable evolution that has quickly modified urban spaces, especially in suburban areas. More and more often, we are witnessing the birth of works of art that have been commissioned by festivals, or institutional projects next to spontaneous street artworks. These large projects, often defined as “urban renewal”, when carried out through a well-thought-out design, can become real open-air museums. The proliferation of these creative and legal projects has raised the question of whether street art should be preserved over time. The conservation, or even restoration, of urban art has recently become a controversial topic in scientific debate. In Italy, different associations of researchers are developing new methodologies for preserving street artworks; everyone agrees on the importance of the implementation of good conservation practices. The documentation of the existing condition of a work of art is the first step to start taking care of it. In this article we introduce SCIMA (Scheda Conservativa Informatizzata Mural Art), a digitizing conservation data report that is specific for mural art. The aim of SCIMA was to define the existing condition of the work of art, starting with the socio-cultural and artistic importance, to describe its environment, to define the materials used and its deterioration problems, to suggest conservative interventions. It was born as an analogical tool (sheet) but we are working on digitizing it (database) in order to maintain access to the data recorded for the future.

Peculiarities of the formation and transformation of cultural landscape of the historical settlements of Onezhskoye Pomorye

The object of this research is the historical,-cultural and natural environment of historical settlements of the Russian North. The subject of this research is the traditional dwelling as a factor of formation and transformation of the cultural landscape of Onezhskoye Pomorye. The goal lies in studying the peculiarities of formation and transformation of cultural landscape of the rural settlements Onezhskoye Pomorye based on the material of traditional dwelling. The research relies on the empirical data acquired in the course of expedition of the Scientific Center for Traditional Culture and Museum Practices of the Ural Branch of the Russian Academy of Sciences to Onezhsky District of Arkhangelsk Region (2018–2021);archival sources of A.V. Shchusev State Museum of Architecture (Moscow), experience of exploring the monuments of wooden architecture of the open-air museum “Malye Korely” (Arkhangelsk Region). The data were obtained by photofixation of the architectural monuments, schematic measurements, and ethnographic survey conducted among local residents using the method of interview. The research employs the original methodology developed by the Doctor of Culturology A. B. Permilovskaya on the architectural-ethnographic exploration of the sites of wooden architecture. Cultural landscape of Onezhskoye Pomorye (and the Russian North overall) primarily is the landscape of rural historical settlements. Northern settlements emerged in close connection with the natural landscape and transformed it into a cultural one. Special role in this process was played by the local population – the Pomors, who were guided by the principles of creating compact settlements, with closed type of dwelling to due to the harsh climate. The adaptive capabilities of traditional dwelling, reflected in its architectural design, allowed the people to survive in the severe conditions of the North. The dwelling is a reflection of natural space of the Russian North and the Arctic, passed through the “prism” of local mentality and carpenter's culture, coexistence of man and the surrounding natural environment, special marker of the North Russian identity, and intrinsic part of the North Russian cultural landscape.

STUDY OF OPEN-AIR MUSEUM ON KAYUTANGAN STREET CORRIDOR

The Kayutangan Corridor is one of the areas in Malang that holds many historical values, namely as a shopping center in the Dutch colonial era. However, the glory and history of kayutangan began to fade with the times. This research's general objective is to provide a design proposal for the Kayutangan corridor that can present historical stories of the buildings along the corridor, such as an open-air museum, with the building as its object. The research method used is descriptive qualitative research with a signage theory approach. The final result of this study is the proposed signage and pedestrian design in the Kayutangan corridor.

C.A.P.I. Project in the Making: 3D Applications at Poggio Imperiale Between Materiality and Virtual Reality (Poggibonsi, IT)

Abstract The archaeological project on the hill of Poggio Imperiale began in 1992. From the beginning this project was characterized by intense experimentation with a range of IT applications. During 2014, the University of Siena began a new project focused on the valorisation of archaeological data with the creation of an Open-Air Museum of the Carolingian village, one of the archaeological phases of the settlement. Over the last several years, the use of three-dimensional (3D) data in archaeology has increased exponentially due to the application of photogrammetry to record every stratigraphic unit. This ever-increasing amount of data fostered the development of the C.A.P.I. project (Collina Accessibile di Poggio Imperiale – Accessibility of the Hill of Poggio Imperiale), which involved the construction of a 3D model of the archaeological area of Poggio Imperiale. The project modeled the three main life stages of the hill using 3D computer graphics. Virtual tours can be experienced through PCs, tablets, smartphones, and even virtual reality headsets, offering users a fully immersive experience. However, virtual reality will not be a replacement for the materiality of the archaeological site. On the contrary, it will provide an additional tool to make the site accessible and inclusive to any potential visitor, regardless of physical distance, physical ability, or time zone.