Upon the successful completion of the course students will:
1. have a holistic comprehension of the importance of programming, ie the analysis of the existing situation and research data prior to design, and will be familiar with both conceptual planning and design as well as architectural-spatial programming and planning and the relationship between them
2. have comprehension of the relationship of the analysis of the individual (within and from the swot), with the creative holistic approach to solving design problems
3. be familiar with the concepts of New History, New Museology and Semiology, as well as with the concepts of identity, multiculturalism and the role of material culture, the promotion of monuments and the cultural industry in modern society
4. be fluent in the process of architectural design, which seeks its raison d'être mainly because it supports the narratives of a conceptual design that has preceded
5. be able to assess the relationship between conceptual and spatial planning
6. be able to assess the relationship between architectural goals and construction solutions
Course Content (Syllabus)
The course consists of two parts: a theoretical part and a synthetic/design part.
The first aims to familiarize students with the theoretical tools of New Museology, which deals with the theory of material culture. It also includes lessons of New History, which provides the framework for the introspective examination of memory, oblivion and the construction of historical narratives, as well as for exploring the relationships between historical written or oral and material evidence. The theory includes also lessons of semiotics, which is of central importance for the synthetic design of an exhibition environment or for the design that deals with the interpretation of monuments. In other words this "scientific" - theoretical part deals with history, the understanding and interpretation of cultural products (exhibits, monuments or archaeological sites) within their wider cultural, political and social context.
The second synthetic/design part has a dual direction: the first deals with the design of meanings (conceptual design) and the second with the design of space (physical-spatial planning). The latter points to both what a cultural product is, but also to the ways it can be communicated to or perceived by the public.
Thus the lesson of Museology includes both lectures and studios, which support the education of an architect in architectural design through the example of the museum, the museum exhibition or the presentation of a cultural environment, such as a monument, a historical complex or an archaeological site.
More precisely:It is important that the students are aware of the theoretical framework within which, and through which, the design subject can be approached.
The "design of meaning" or "conceptual design", is approached on the basis of a museological programming which documents and analyses a given collection in its parts and as a whole, a monument, a historic complex or an archaeological site before the design of the space. The above analysis, after examining the actual historical data, continues with the contemporary conditions and the aims and goals of exhibiting or reevaluating and is followed by the synthetic design of concepts (narratives), with a focus on contemporary theoretical approaches of culture and civilisation, material culture, post-processual archaeology, phenomenology of landscape and semiotics of space, the New History and New Museology approaches.
The study of the meaning of material culture and its spatial expression is therefore to be considered as the theoretical and scientific key viewpoint of the course.The effort lies in helping the students consolidate the unbreakable circular relationship between the conceptual-museological design (design of meaning) and the architectural-museological one (spatial design), and to make clear that the design of meaning feeds and is fed by the architectural design in a continual and endless interaction. It lies also in helping students to experience a complete and "meaningful" design process.
New museology, theory of material culture, interpretation of the cultural product, conceptual-museological design, architectural design, museum design, revaluation of archeological sites
Student assessment is based on:
a. their participation in the course,
b. the quality and composition of their presentations and observations on the issues of analysis and evaluation of the respective framework of architectural composition and intervention,
c. the degree of depth, observability, interpretative ability and perception of concepts and relationships of the design framework.
d. the synthetic ability and sensitivity of design, the degree to which it meets programme objectives, the quality and completeness of the design
e. the quality, accuracy and completeness, technological and constructive concept of their design proposals,
f. the quality, accuracy, and completeness of the presentation of the final design proposals
Course Bibliography (Eudoxus)
Η ΜΟΥΣΕΙΟΛΟΓΙΑ ΣΤΟΝ 21ο ΑΙΩΝΑ -ΘΕΩΡΙΑ ΚΑΙ ΠΡΑΞΗ- Πρακτικά Συνεδρίου- Επιμέλεια : Μ. Σκαλτσά, University Studio Press, Θεσσαλονξίκη 2010
ΜΟΥΣΕΙΑ 05 ΖΗΤΗΜΑΤΑ ΔΙΑΧΕΙΡΙΣΗΣ ΣΥΛΛΟΓΩΝ, ΜΟΥΣΕΙΩΝ ΚΑΙ ΑΡΧΑΙΟΛΟΓΙΚΩΝ ΧΩΡΩΝ, Πρακτικά Συνεδρίου, Εντευκτήριο, Μακεδονική Εταιρεία Τεχνών & Πολιτισμού, θΕΣΣΑΛΟΝΊΚΗ 2008Α. Λιάκος, ΠΩΣ ΤΟ ΠΑΡΕΛΘΟΝ ΓΙΝΕΤΑΙ ΙΣΤΟΡΙΑ, εκδ. Πόλις, 2007
Π. Τζώνος, ΜΟΥΣΕΙΟ ΚΑΙ ΝΕΩΤΕΡΙΚΟΤΗΤΑ, εκδ. Παπασωτηρίου, 2007, εκδ. Εντευκτηρίου, 2013
Π. Τζώνος, ΜOΥΣΕΙΟ ΚΑΙ ΜΟΥΣΕΙΑΚΗ ΕΚΘΕΣΗ, εκδ. Εντευκτηρίου, 2013Κ.
Additional bibliography for study
Τσουκαλάς, Η ΕΠΙΝΟΗΣΗ ΤΗΣ ΕΤΕΡΟΤΗΤΑΣ, ΤΑΥΤΟΤΗΤΕΣ ΚΑΙ ΔΙΑΦΟΡΕΣ ΣΤΗΝ ΕΠΟΧΗ ΤΗΣ ΠΑΓΚΟΣΜΙΟΠΟΙΗΣΗΣ, εκδ. Καστανιώτης, 2010,
J. M. Flandmark, HERITAGE AND MUSEUMS, Donhead, UK, 2000
Eric Hobsbawm, Terence Ranger (επ.), Η ΕΠΙΝΟΗΣΗ ΤΗΣ ΠΑΡΑΔΟΣΗΣ, εκδ. Θεμέλιο, 2004