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Cultural heritage gives places meaning and an atmosphere called genius loci based on tangible and intangible values. Nowadays, we can observe a commercial and consumerist approach to the spirit of place: it is used as a promotional tool and a tourism product, reduced to a cliché satisfying popular consumers tastes. The aim of this study is to identify the values which determine the identity of a place and the dangers they face, trying to answer the question: how can genius loci be protected? We analyse the problem based on the example of selected open-air museums at defensive castles in Poland’s Jurassic Belt. These museums have become a field of commercial entertainment and fallen victim to irreversible transformations.

Cultural heritage gives places meaning and an atmosphere called genius loci based on tangible and intangible values. Nowadays, we can observe a commercial and consumerist approach to the spirit of place: it is used as a promotional tool and a tourism product, reduced to a cliché satisfying popular consumers tastes. The aim of this study is to identify the values which determine the identity of a place and the dangers they face, trying to answer the question: how can genius loci be protected? We analyse the problem based on the example of selected open-air museums at defensive castles in Poland's Jurassic Belt. These museums have become a field of commercial entertainment and fallen victim to irreversible transformations. [ABSTRACT FROM AUTHOR]

The purpose of the article is to identify changes in the cultural and leisure activities of open-air museums in Ukraine through the prism of digital transformation, to characterise the activities of open-air museums in new cultural and social conditions. The research methodology provides general scientific principles of systematisation and generalisation, which made it possible to analyse and determine aspects of the transformation of the cultural and leisure activity of openair museums in the field of digitalisation. The purpose and tasks of the publication also determined the application of an axiological approach, which made it possible to determine the role of open-air museums in the implementation of cultural and leisure activities and their transformational manifestations through the prism of digitalisation. The application of the analytical method contributed to the delineation of the conceptual foundations of further scientific perspectives for the study of the cultural and leisure activities of open-air museums in the ХХІ century and the analysis of the impact of digital transformation on the cultural and leisure activities of open-air museums in the first quarter of the century. The principles of objectivity and reliability formed the methodological basis for analysing the impact of digitalisation and the transformation of cultural and leisure activities in the period under study. The scientific novelty consists in outlining the aspects of the cultural and leisure activity of open-air museums in Ukraine under the influence of the digital transformation of the cultural sphere, determining the future prospects of the researched issues. Conclusions. Thanks to digitalisation processes, the number of interactive museum programs and projects is increasing, which makes visiting open-air museums and getting to know their cultural and leisure activities more accessible to the public. At the same time, their accounts in social networks, the use of online tours with electronic accompanying material, audio guides, QR codes and other devices that help in recognising and assimilating information to users are widespread and developing. However, the transformation of the manifestation of cultural and leisure activities of open-air museums in the ХХІ century has its negative and positive aspects. But the digitisation of museum collections is a reliable way to preserve works of culture and traditions for the future. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tourism appropriates tourist attractions and takes possession of them, marking them both physically and symbolically. Tourists visiting attractions tend to create distinctive marks, usually characterised by some significance in terms of self-identification, on the places and monuments visited by them, and this could be regarded as a symptom of a specific ‘I was here’ syndrome; in the present study, the authors examine the prevailing practices of marking attractions in tourist spaces, as also the marks themselves. We endeavour to identify the nature of the phenomenon and the consequences for both the attractions and the subjects managing them. The survey carried out involved several chosen sites in Poland, all of which are characterised by a recognised historic status in the realm of public space as well as a clearly identified sociocultural or legal value, which by definition imposes the requirement for adhering to a certain behavioural code when within their precincts and towards them, and excludes other kinds of behaviour. These attractions are all subject to different forms of institutionalised control, which, however, fails when it comes to safeguarding them from the practices of marking undertaken typically by tourists; these occurrences have become a routine phenomenon, which is unsurprising given the fact that the rituals of the contemporary mass and mediatised tourism have made this kind of tourist behaviour common, albeit on a lower scale than previously expected.

Archaeological excavations have revealed important sites from the prehistoric sites, with the cultural achievements of the early lithic tools of hunters-gatherers in the Palaeolithic, to the emergence of the farmer-village societies in the Neolithic, reaching on to urbanisation and the complex societies of the Chalcolithic. On the other hand, natural landscapes reveal the distribution of prehistoric sites near resources related to open-air lands or in caves. The biggest asset of presenting prehistoric sites is in not only boosting tourism and local economy, but also diversifying cultural activities. This covers not only the preserving and restoration work on the original sites, but also a "Discovery Centre" by creating sites like "Open-air Stand" with a permanent exhibition, as well as indoor and outdoor spaces. These can be dedicated to workshops, conferences and temporary exhibitions, and allows visitors to learn and practice "Early Human Lifestyle" activities. Attracting visitors to prehistoric sites and museums complements the sites with new job opportunities via restaurants, gift shops and bookstores, in order to achieve prosperity and welfare within the partnerships. This paper comes into three directions and depends on the UN’s Sustainable Development Goals "SDGs"; first, analysing the problem and challenges, second a more dynamic design of prehistoric sites, while the third is for the strategy's feasibility, refreshing and possible benchmarks.

Den Gamle By is the largest open-air museum in Denmark. Since 2004, the museum has run special programmes for elderly people with dementia, and these programmes have been shown to strengthen the elderly people’s memories, as well as improving their well-being.

Copyright of History Pages is the property of National Technical University of Ukraine KPI and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Open-air museums host much cultural heritage data. You can find them in archival records, photos, video, and the minds of people. These data are at risk of being lost. This is where RETOLD comes in, a European Project (Creative Europe Program) with six partners working together on a solution.

The purpose of this article is to examine how modern techniques of measurement and visual representation using ICT can aid in the assessment and preservation of wooden architectural landmarks in open-air (folk-life) museums. By developing a general understanding of vernacular architecture, experts can more effectively plan for maintenance and large-scale interventions to protect these structures. Specifically, the article focuses on the use of photogrammetry to assess and diagnose roof coverings, which are a crucial component of vernacular architecture. Roof coverings not only impact the aesthetic of a building but also play a significant role in its function. As they often reflect local customs and beliefs, they are essential to a community's cultural identity and sense of belonging. Measuring roof coverings in vernacular architecture sites can be challenging due to the availability of materials like thatch, clay tiles, or wooden shingles, and the negative impact that a degraded roof can have on the overall state of a building. [ABSTRACT FROM AUTHOR]

The presented article deals with the problems of creating an open-air museum on the site of the medieval settlement Zhaiyk. The monument is located in the Zhaiyk (Ural) river basin. Several residential, public and economic objects were found in the territory of the ancient settlement during archaeological research. These are brick kilns, a lime kiln, a pottery kiln, a bathhouse, residential estates, and mausoleums. The main goal of the Zhaiyk Open Air Museum project is to research, preserve and use the historical and cultural archaeological heritage, as well as to promote the development of the region's tourism infrastructure. The current level of development of historical science and archaeology makes it possible to reconstruct a specific historical reality in the socio-economic, political and ethno-cultural aspects. Therefore, the preservation, protection and use of monuments are a priority in archaeology. The open-air museum will carry out constant cultural, educational and informational work, which will make it possible to effectively use its resources as a particularly valuable scientific institution. As part of the project to create an open-air museum, it is planned to conduct a natural and environmental study of the natural resources of the Zhaiyk River valley (Ural), which will significantly expand the protection and use of the natural heritage of the region and create a basis for creating cultural and entertainment infrastructure. Conditions will be created for the effective protection of cultural and natural heritage and control of its use, and reconstruction and conservation work will be carried out at archaeological sites. As a result of the implementation of the project for the integrated development of the open-air museum, its boundaries will include all areas where monuments of archaeology, architecture and ethnography are located.

Vernacular architecture is an integral part of the national cultural heritage. Today, however, many of these buildings exist only on old plans or photographs and the average citizen has no opportunity to get acquainted with this part of the national identity. Therefore, in our work, we present the development of two web applications with the aim of creating a virtual open-air museum for presenting vernacular architecture in the Czech Republic. The applications were created using opensource technologies, and are implemented with methods that allow easy transfer from one operating system to another. The presented content is a carefully selected sub-sample of more than 10,000 available records representing all regional types of vernacular architecture. The result is one application designed for editors to manage the presented content and one application allowing interactive viewing of the available geo-located records designed for the general public. Individual records can be searched either directly using the map window or by querying the attribute table. These records contain descriptive information about the object, as well as historical photographs and plans and, for some objects, additional information in the form of 3D models, PDF documents and other files. The applications are designed in such a way that their content can be freely expanded in the future and thus contribute to the popularization of vernacular architecture among the general public, which was the main reason for their creation. [ABSTRACT FROM AUTHOR]

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.

Province, which is located in the south-eastern corner of Poland. At the beginning of the 1970s, as the result of an initiative drawing attention to the need for documentation of the rapidly disappearing traditional Rzeszowiacy vernacular wooden architecture (and that of the neighboring ethnographic group, the Lasowiacy), the Folk Culture Open-Air Museum in Kolbuszowa was created. This paper presents a short overview of the open-air museum’s establishment and describes in detail its role in the study and protection of the wooden architectural heritage of the Rzeszowiacy ethnographic group, based on the museum’s research, carried out over fifty years, and its collection of buildings.

This paper presents the architecture and implementation of a service that delivers personalized content to open-air museum visitors. The service uses push notifications to deliver this content. Notifications can be delivered to all visitors or personalized - to a group of visitors or to a specific visitor. The service segments museum visitors according to their location and their profile, which is built dynamically over time. For the geospatial segmentation of visitors, geofencing is used - each visitor is assigned to a segment that corresponds to a specific geographic area - part of an open space or exhibit. The service allows localization of visitors by their GPS coordinates or by estimating their distance from Bluetooth Low Energy (BLE) beacons. The geofences are described as a polygons or circles. Geospatial segmentation is implemented using a NoSQL database MongoDB, which has built-in capabilities for working with geospatial queries. Depending on the profile, each visitor falls into one or several segments: professional researcher, non-professional researcher, inspiration seeker, casual visitor, and visitors with disabilities. For each visitor, personalized content is delivered, depending on the segments to which the visitor is assigned. The necessary experiments have been conducted and analyzed to prove the applicability of the service for real-time delivery of personalized content.

The work tries to highlight the activity of a complex personality such as Alexandru Tzigara - Samurca?, who through his efforts made a rich contribution as a museographer and ethnographer having an important role in preserving the objects of folk art. He laid the scientific foundations of museography, pioneering the classification of objects and the introduction of catalogs in the museum. He also played an important role in the establishment of the National Ethnographic Museum in Bucharest and also made an important contribution to the creation of open-air museums. He also had a rich journalistic activity in various newspapers of the time and was an important art critic. [ABSTRACT FROM AUTHOR]

This article focuses on how the demand for social and political meanings, generated by nation-building processes and competence between nationalisms in Central Europe, has determined the protection and heritagisation of vernacular architecture. The problem has been analysed using the example of the wooden churches in Upper Silesia—the region contested by Germany and Poland. These monuments gained unprecedented importance as they were believed to testify to ancient architectural traditions and were used to prove the Germanic or Slavic roots of regional culture. The article reveals the evolution of churches’ meanings and the ways they have affected the monument protection and functioning of open-air museums.

Nwadjahane, a small village in southern Mozambique, is set apart from other settlements as the birthplace of Eduardo Mondlane, one of the nation's founding fathers. Declared a national heritage site and made into an open‐air museum, Nwadjahane has become a landscape where national and local memories are negotiated. Mondlane is at once a national hero celebrated with statues, exhibitions, and commemorations, as well as locally linked to ancestors and memorialized through ritual sites and sacred trees. I examine how diverse audiences engage, appropriate, and contest the different spaces of Nwadjahane: the village, the museum, the space of ancestors. Highlighting the fractured nature and the politics of this landscape, the tensions, contradictions, claims, and counterclaims made upon a single locale, I use Foucault's concept of heterotopia as an analytical tool to interrogate the juxtaposition of distinct spaces and temporalities, focusing particularly on local interpretations and the historical conditions that made Nwadjahane a national heritage site. [ABSTRACT FROM AUTHOR]

Sammendrag I løpet av de siste tiårene har den kulturpolitiske museumsdebatten i økende grad vektlagt museenes aktive rolle i et moderne demokratisk samfunn. Kulturpolitiske styringsdokumenter bruker formuleringer om at museene bør være relevante, mangfoldige, kritiske og samfunnsaktuelle. Selv om det har skjedd en stor utvikling i statlige styringsdokumenter, har den historiske forståelsen av folkemuseene som en samlende møteplass for tilhørighet, røtter og stolthet knyttet til lokal identitet holdt stand i deler av lokalsamfunnet. Med utgangspunkt i en kontroversiell utstilling ved Hadeland Folkemuseum, beskriver denne artikkelen en tilsynelatende motsetning knyttet til ulike forventninger og manglende kommunikasjon rundt den lokale, kulturhistoriske folkemuseumsinstitusjonen. Artikkelen viser hvordan de ulike forventningene til hva et folkemuseum skal være kan føre til frustrasjon og konflikt mellom museum og lokalsamfunn. Avslutningsvis argumenterer artikkelen for at implementeringen av museenes samfunnsrolle peker mot en dypere konflikt og grunnleggende ambivalens i folkemuseumsinstitusjonen, knyttet til hva dens samfunnsbærende rolle skal være.

El autodenominado Museo a Cielo Abierto en San Miguel es el resultado del esfuerzo de los vecinos de la comuna de San Miguel (en Santiago de Chile), para embellecer el barrio. Si bien, la iniciativa surge con la intención de mejorar el espacio urbano a propósito del bicentenario de Chile, este espacio adoptó ciertos elementos de los museos tradicionales a través de la pintura mural en las medianeras de las viviendas. A partir del desglose de la definición de museos del ICOM, en su revisión del año 2017, se han creado tres categorías para el análisis cualitativo de las actuaciones del Museo a Cielo Abierto en San Miguel: estar en posesión de un patrimonio material o inmaterial, brindar un servicio a la sociedad y políticas de restauración y conservación de sus piezas. Finalmente, se concluye que efectivamente este espacio constituiría un paisaje urbano musealizado. / The self-named Open Sky Museum in San Miguel is the result of the effort of the neighbours of the commune of San Miguel (in Santiago de Chile), to beautify the neighbourhood. Although the initiative arose with the intention of improving the urban space due to the bicentennial of Chile, this space adopted certain elements of the traditional museums through the mural painting in the dividing walls of the houses. Following the breakdown of the ICOM definition of museums, in its 2017 revision, three categories have been created for the qualitative analysis of the actions of the Open Sky Museum in San Miguel: to be in possession of a material or immaterial heritage, to offer a service to society, and policies of restoration and conservation of its pieces. Finally, it is concluded that this space would effectively constitute a musealized urban landscape.

In Japan, over 1,000 prehistoric house reconstructions have been built at 360 different locations since 1949. Pit houses from Neolithic Jomon Period (14,000–300BC) are the most common but they are mostly based on archaeological remains limited to pits and postholes. Therefore, decisions on material and structure come from various sources, some based on research and others rooted in cultural ideologies or individual’s preferences. This paper compares reconstructions at three sites in the Central Highlands region of Japan. Despite the similarities in archaeological remains, the approaches toward reconstructions at each site are remarkably different. At Togariishi site (built 1949) the pit house design was made by Horiguchi Sutemi, a modernist architect and historian inspired by the past to find a Japanese essence in traditional farmhouses and tea houses that could intermix with Western architecture. At Idojiri site (first built 1958) archaeologists rejected mainstream academic concerns and embraced a community-centered approach to archaeological research and reconstruction. Lastly, the four pit houses at Umenoki site (built from 2014) were based on ethnographic examples from North America and were built by a carpenter and re-enactor who collaborated with the site archaeologists and the public.

As part of the EU project RETOLD, the Stadtmuseum Berlin in Germany is responsible for creating standardised documentation strategies for archaeological house models and evaluating them by engaging with the open-air museums of Astra in Romania and the Steinzeitpark Dithmarschen in Germany. In order to start creating these workflows, as a first step, other open-air museum were approached asking them to share their existing documentation forms and workflows, if any. Most open-air museums did not have existing workflows, confirming the need for this project in the first place. Of the 21 Museums approached, six did not reply, eight replied but had no standardised documentation forms and only seven did use regular documentation procedures and shared them with the project.

“Cooperating to create a greater impact" was a session during the ICOM General Conference in Kyoto, Japan. It was organized by ICOM NL, ICOM JP, DEMHIST, EXARC and the Japan Museum Sieboldhuis. The session took place on September 4, 2019 at Kyoto International Conference Centre. The session focused on themes of collaboration, cooperation, joint ownership and the possibilities in continued contacts. During this conference I presented a case study on the history of the Dejima restoration project and its current utilization strategy under the title "Dejima Transcending Time Itself ". In this article I will show the significance of Dejima and how it contributes to improvements in the recognition of National historic sites and facilities.

The "Rzeszowiacy" ethnographic group inhabits the central and northern part of the Podkarpackie Province, which is located in the south-eastern corner of Poland. At the beginning of the 1970s, as the result of an initiative drawing attention to the need for documentation of the rapidly disappearing traditional Rzeszowiacy vernacular wooden architecture (and that of the neighboring ethnographic group, the Lasowiacy), the Folk Culture Open-Air Museum in Kolbuszowa was created. This paper presents a short overview of the open-air museum's establishment and describes in detail its role in the study and protection of the wooden architectural heritage of the Rzeszowiacy ethnographic group, based on the museum's research, carried out over fifty years, and its collection of buildings. [ABSTRACT FROM AUTHOR]

The article is devoted to the wooden architecture of Ryazan, which is an integral part of the historical and cultural heritage not only of the region, but also of Russia as a whole. The study is based on visual inspection, literary sources, author and historical photographs. As a result of the survey, stylistic features were identified, an analysis of the facade design with decorative elements was carried out, and the typology of the structures was studied. Among the distinctive features of Ryazan wooden architecture, it is necessary to note the abundance of various architectural forms and methods of decorative design of facades. The objects of wooden architecture are in varying degrees of preservation.

This article substantiates the relevance of the museumification of Kazakhstan’s mounds based on foreign experience. The authors present general information about the Issyk mounds and analyze the theoretical concept of the spatial solution of the museum complex around them. A number of studies devoted to the museumification of the Besshatyr burial mound are considered. The history and specificity of the spatial organization of the Ak-Baur temple intended for funeral rites as well as the modern concept of its museumification are analyzed.

The world is changing faster than ever. In this context and with the dizzying speed of changes in modern life, which has separated people from nature, they are seeking to return to a closer relationship with their environment. Creating open-air museums is part of a human effort to meet these innate demands. Nowadays, there are various museums that are not limited to specific subjects and works but involve a series of houses gathered from different locations for a variety of reasons and installed else­where. Along with the attempt to reconstruct the original form of the village, city or industrial area, other sections have been added. In addition to familiarizing people with their past and their ancestors, these museums provide a variety of programs for pres­ent and future audiences. In this paper, we investigated the origin, the foundation, and the evolution process of open-air museums in different countries. Also, we reviewed the role of open-air museums in the physical conservation of rural architectural heri­tage. We answered the questions: why create an open-air museum and are there any harmful effects if we isolate these buildings from their original premises or transfer these houses to another location? The results indicated that despite the damage to the originality of the work, transfer to different locations is one of the best ways to save and conserve them. A descriptive-analytical method was used with documentary and field tools. This paper involves applied research and provides information about open-air museums.

How is it possible that if you go into an arts museum, the ceramics you see may be made yesterday and may be a valued and legitimate part of the museum collection, while in open-air museums, a similar object may be produced by a master craftsperson yesterday, yet is not called authentic? Are we blinded by historical-archaeological authenticity? Is the key to documented objects, their stories and their provenance – which gives them their authenticity - not right? Well-structured documentation of stories with objects and people is, per se, an important step towards being regarded as open-air museums. This is an important part of our current EXARC EU Project, www.retold.eu.

The seminar was divided into two parts. One group professionally documented the long-term experiment “House 1” in the Museums Village Düppel for the first time. The house was built in the 1970s and left to decay in 1990. The area was freed from vegetation and photographed at regular intervals. The second group reflected on the continuous documentation of reconstructed houses in archaeological open-air museums with the aim of developing a proposal for binding documentation guidelines as well as practicable documentation forms. This contribution is intended as a thought-provoking catalyst.

Archaeological site museums may not be that well defined worldwide, yet, they are found almost everywhere. Archaeological sites with reconstructed buildings based on archaeology however seem to be a younger phenomenon and are mainly concentrated in Europe, Japan and North America. Both types of museums however have old roots. Important is not so much the site per se, but the message the management wants to bring across, how they like the site to be interpreted. Reconstruction is then one of the options. Prospects for archaeological sites with a museum function are, like for all museums, critical: one must find relevance of the museum in modern society.

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. [ABSTRACT FROM AUTHOR]

This article focuses on how the demand for social and political meanings, generated by nation-building processes and competence between nationalisms in Central Europe, has determined the protection and heritagisation of vernacular architecture. The problem has been analysed using the example of the wooden churches in Upper Silesia--the region contested by Germany and Poland. These monuments gained unprecedented importance as they were believed to testify to ancient architectural traditions and were used to prove the Germanic or Slavic roots of regional culture. The article reveals the evolution of churches' meanings and the ways they have affected the monument protection and functioning of open-air museums. [ABSTRACT FROM AUTHOR]

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Muzealnictwo is the property of Index Copernicus International and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Problem statement: Today, the status and values of architecture and indigenous habitats and their conservation have become increasingly important, and for this reason, the idea of creating open-air museums is expanding. Despite the variety of topics, these museums have one thing in common, and that is the transfer of structures from the original location to the museum. This study is concerned with the main problem as the manner of conserving hidden values such as authenticity when moving the piece from the original location to the open-air museum. Also, with what changes would be made in the authenticity of the work and the environment around it, in terms of principles of architectural conservation, by dismantling and transportation of house components from the original location and reconstructing them in the new space and the museum? Research objective: The study aims to investigate the authenticity of the works in open-air museums and the impact of the surrounding environment on the authenticity of their spirit. Research method: This article uses a descriptive-analytical method with documentary and field tools, and experiences obtained from the project of Guilan Rural Heritage Museum. Considering the importance of the subject, this is a fundamental-applied article. Conclusion: The study found that although by separating an architectural work from its original climate and environment, the authenticity of the work’s spirit and the surrounding environment is distorted, but based on the comprehensive view of the theory of the authenticity of existence (Existentialism), the continuity of the integrated existential movement of the work towards perfection is still sought after. Also, the creation of facilities to preserve and save the body of the work in another place, providing the opportunity for people to get acquainted with architecture, customs and unwritten knowledge of architecture, and its material and spiritual information, thus justifies the change of materials and even the change of use and spatial context of the work. [ABSTRACT FROM AUTHOR]

An EXARC 'call to arms' to reevaluate and develop your Open-Air Museum's interpretation strategy. The year 2020 started out for museums as usual, with plans for new exhibitions, new buildings even, and above all many events and visitors. Soon we saw how wrong we were. Open-air museums who had prepared to open up for the season found out that COVID-19 meant they were sitting ducks: no visitors, no income, no life in the museum area. The situation will not return to 'normal', we will have to think again about everything we were used to in our work. This article is an EXARC 'call to arms' to reevaluate and develop your Open-Air Museum's interpretation strategy.

Interpreting the Environment at Museums and Historic Sites is a textbook and a call to action. In the midst of the Anthropocene, Debra A. Reid and David D. Vail argue, museums and conservation areas should attend to their environmental assets, tell environmental stories, and take an activist role in encouraging better stewardship.

This year’s Association of European Open Air Museums (AEOM) Biannual Conference 2019 took place at multiple sites in Poland, over four days in late August. Its two key themes were ‘How Open Air Museums represent different cultural identities’, and ‘Representing the past - technical solutions for reconstruction and archaeological interpretation’. I was invited to participate in order to discuss how EXARC and AEOM can best partner up, and also how to share best practices from my workplace Colonial Williamsburg. The four-day conference was split into half days, consisting of discussions and site visits. This was the first time I had been to a conference like this and I was eager to see how it worked.

The article is devoted to the problems of actualization of the historical and cultural heritage and the new approaches to its exposure in modern museum complexes. The author identifies a new type of architectural objects — the heritage interpretation centers, which are widely used abroad. The purpose of the article is to study the methods of the architectural-spatial organization of the centers for the interpretation of the archaeological heritage, whose objects have the greatest difficulty for their exposure and presentation to the public. The author examines with examples the existing approaches to the formation of architectural and spatial solutions. Among them, symbolic understanding of the history, multilayered exposure using multimedia tools, the inclusion of monuments in the system of public spaces of the city with the device “windows” in the historical past and landscape approach are highlighted. The creation of the interpretation centers of the archaeological heritage contributes to the improvement of the image and the formation of the cultural identity of the region / Статья посвящена рассмотрению проблем актуализации историко-культурного наследия и новым подходам к его экспонированию в современных музейных комплексах. Автор выделяет новый тип архитектурных объектов — центры интерпретации наследия, которые получили широкое распространение за рубежом. Целью статьи является изучение способов архитектурно-пространственной организации центров интерпретации археологического наследия, объекты которого представляют наибольшую сложность для их экспонирования и презентации широкой публике. Автор на примерах рассматривает сложившиеся подходы к формированию архитектурно-пространственных решений. Среди них выделены символическое осмысление истории, многослойное экспонирование с использованием мультимедийных средств, включение памятников в систему общественных пространств города с устройством «окон» в историческое прошлое и ландшафтный подход. Создание центров интерпретации археологического наследия способствует улучшению имиджа и формированию культурной идентичности региона

In the text, the authors demonstrate that a Czech open-air museum was founded in Prague in 1895, well ahead other European countries. It was the first open-air museum in the then Europe south of Scandinavia. It was far ahead of its time also through the connection with a large collection museum. The original exhibition village changed into a permanent open-air museum. The Czech “skansen”, likewise the Swedish one, meant an inspiration for further exhibition and museum projects. From the very beginning of the existence of an ethnographic village at the Czechoslavic Ethnographic Exhibition, it was planned to maintain it. For subsequent six years, the village was used for ethnographic and cultural purposes, just as current open-air museums are. Its spaces were not closed and non-functional. For this reason, we could consider the ethnographic village to be “wooden heritage”, which does no longer exist now. Despite its uniqueness, and scholar, social and cultural benefits, the ethnographic village from the year 1895 has not survived. Its extinction in the year 1901 was caused by a wood-decay fungus. The authors believe there is still a possibility of renewing this ethnographic village. [ABSTRACT FROM AUTHOR]

The modern open-air museum needs a new attitude to itself and new approaches to its exhibition design that combines the historicity, authenticity, and veracity of monuments with modern requirements, methods, and means of the exhibition, meets the visitor requirements and makes the museum unique and viable. The article aims to determine general principles and identify effective approaches to the formation of open-air exhibitions in both Ukrainian and foreign museums. [ABSTRACT FROM AUTHOR]

Archaeological parks provide hypothetical reconstructions that allow the general public a better historical understanding. This paper presents the case of an underwater museum, Kaş Archaeopark, which incorporates interpretative reconstructions of the Uluburun shipwreck site and its cargo. The project emphasized three outcomes of the creation of an underwater museum: education through nautical archaeology training, recreational diving as a means to raise public awareness, and research through experimental archaeology projects. Overall, the Kaş Archaeopark has improved knowledge and awareness of heritage preservation in both the local and diving communities. [ABSTRACT FROM AUTHOR]

In South Africa's past, museums were often established without considering that one of the intentions of such institutions is to serve local communities. This article considers the position of the Bakone Malapa Northern Sotho Open-Air Museum in the Limpopo Province in post-apartheid South Africa. Research addresses the assessment of how the museum could be transformed and do justice to serve local communities living in the region. To be meaningful with a community, a museum must enable the community to play a part for engagement and education purposes. This paper argues that the Bakone Malapa Northern Sotho Open-Air Museum as a dynamic social institution should thus serve societies equitably. Due to South Africa's oppressive history, this remains an ongoing challenge. Based on archival documents and personal interviews, this paper considers the social justice perspective of the Bakone Malapa Northern Sotho Open-Air Museum and questions whether decisions used to establish the institution remain relevant today for planning its future. Research suggests five possible roles that could redefine museums in line with the demands and approach of social justice: as a mediator, an enabler, an educator, an advocate and as a facilitator. Hopefully, this study's final recommendations may help to bring into being a 'temporary museum' that plays a more pertinent role in respect of the region's cultural, social, and economic issues. The plans of a future museum, ideally should be informed by modern museological discourses on new directions for inclusive and transformative best practices. Globally, such benchmarks are already well-developed for creating sustainable and more inclusive institutions, that first and foremost serve social justice. [ABSTRACT FROM AUTHOR]

Fanzara es un fenómeno internacional gracias al MIAU, el Museo Inacabado de Arte Urbano, que ha provocado que deje de ser una tranquila localidad de Castellón y se convierta en una gran exposición al aire libre en la que prácticamente cada calle contiene alguna obra realizada por artistas reconocidos internacionalmente. Y todo gracias a una iniciativa vecinal que nació para reconciliar a un vecindario dividido por un truncado proyecto de vertedero de residuos tóxicos. El arte como solución a una problemática social. / Fanzara is an international phenomenon thanks to the MIAU, the Unfinished Museum of Urban Art (Museo Inacabado de Arte Urbano), and as a consequence it is no longer a calm village near Castellón but instead it turned into a huge open air exhibition. Practically each street of Fanzara contains some artwork made by internationally recognised artists. And everything thanks to a neighboring initiative that was born to bring back together a divided neighbourhood truncated by a toxic waste dump project. Art as a solution to a social issue.

Undisputedly, globalization has changed the human beings. Unexceptionally the way we live. The value of tradition is slowly fading, replaced by modern lifestyles with all its pragmatism. Traditional houses are also abandoned gradually, changed by contemporary modern houses. Then, where these traditional houses should be? Fortunately for the locals who are still committed to consistently withstand with their traditions. In contrast to other deteriorated cultural peoples, which most of them are no longer willing to dwell their inherited houses. Here, open-air museum arose to be reconsidered. Behind its controversy, open-air museum has been an answer to the phenomenon of conservation in Europe. In the midst of the controversy over the value of the place, open-air museum become a solution for European when their traditional houses increasingly burdensome in terms of maintenance. This paper aims to give an image of how Austrians preserve their traditional/vernacular houses. Six biggest open-air vernacular/traditional houses museums that dispersed on characterized-cultural region over Austria will be described comparatively here in order to give a description about the prospect for Indonesia. There are numerous principles that could be considered as guidelines, both as a theoretical framework and technical issues. Resulted recommendation could be used as hints in conserving Indonesian traditional houses in a different perspective.

Many open-air museums in the United States are members of the Association of Living History, Farm and Agricultural Museums (ALHFAM). Only a small portion of the ALHFAM members are agricultural museums, however living history in a museum context is what unites the members.

This paper stems from a keynote talk I was invited to give at the Archaeology for the People: Exhibition, Experience and Performance conference, in Kernave, Lithuania, in September of 2018. When I began investigating this conference I was unclear as to how well EXARC’s focus on experimental archaeology would blend with International Museum Theatre Alliance (Imtal)’s approach of museum theatre and interpretation. They seem after all, two very different disciplines. It could be said that experimental archaeology is about hard science, or at least scientific method–theory, experiment and conclusion, whereas Imtal’s work in museum theatre is concerned with a different set of skills and methodologies–performance, cultivating emotional connection, and interpretation. In the following I suggest they may have more in common than might initially be thought.