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The term site museum refers to a particular kind of museum built on or near a historical or natural site with the goal of preserving and interpreting the site and its excavations. This study is an early exploration of the inherent conflicts of the site museum, which have not been discussed much in existing studies. These conflicts are believed to exist in all site museums. Some are considered unique to the site museum, and others are more severe than those in other museums. The causes of these conflicts could be divided into three main types: the site characteristics, mainly including immovability, location, scale, materials, and conservation; the architectural characteristics of the site museum, such as architectural foundations, enclosure, architectural forms, and permanence; and the institutional characteristics of the site museum, which are collections, exhibitions, and museum powers. The conflicts they have caused are challenging the appropriateness of the way site museums are built. The study argues that these conflicts could not be eliminated but only mitigated partially. Some mediation methods are further discussed in the planning, architectural design, exhibition design, and operation levels. [ABSTRACT FROM AUTHOR]

Museums housed in historical buildings combine the intrinsic value of the collections with the historical and architectural values of the building itself. Although usually made with thick elements with high thermal inertia, very effective in damping and delaying the heat flow, these buildings are usually characterized by elements with low thermal resistance, poor-quality windows and low area/volume ratio in the noblest buildings, which renders them ineffective at maintaining a stable indoor climate adequate for conservation, comfort and energy efficiency issues. In this paper, a simulation study was carried out to analyze the impact of the building location (weather), thermal envelope and climate control strategies by analyzing a generic room of the National Museum of Ancient Art of Lisbon. A simulation study was carried out for 15 European cities to verify the impossibility of standardizing the rehabilitation solutions in cultural heritage since energy needs depend on the location. It was concluded that the focus on climate control strategies has great potential for energy reduction and that in temperate climates of southern Europe, the improvement of thermal transmittance has a reduced effect on the building's response. [ABSTRACT FROM AUTHOR]

The paper presents the results of the study of archival documents and studies related to the House Museum of A. Shchusev in Chişinău. The museum building is a historical monument of national importance, part of the immovable cultural and historical heritage protected by the state. It is included in the Register of Historical and Cultural Monuments of the Chişinău Municipality under No. 50. The house museum is located in the historical part of the city at 77 Shchusev Street, between the streets of Metropolitan Gavriil Bănulescu-Bodoni and Alexander Pushkin. [ABSTRACT FROM AUTHOR]

The article summarizes the situation related to the armed conflict in Ukraine in the context of the destruction of monuments and cultural objects as a war crime. The considerations relate to the provisions of international and European law, as well as to the positions developed by international case law. The stands of the international organization and community alongside the bodies of the European Union have been indicated. Poland's efforts to help Ukrainian monuments are also discussed. Reference is made to the activities of the Polish Support Center for Culture in Ukraine established in Poland, within the structure of the National Heritage Institute and the Committee for Aid to Museums of Ukraine. [ABSTRACT FROM AUTHOR]

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This article examines the construction and transmission of memory in the Red Star Line Museum in Antwerp, Belgium. The museum, which opened in 2013 in the historic buildings of the shipping company, presents itself as a unique lieu de mémoire, harbouring the stories of the many Europeans who migrated across the Atlantic in the early 20th century. We concentrate on a Translation Studies perspective to chart and interconnect the various levels of memory-work in this museum. Drawing on broader definitions of translation as cultural transfer and mnemonic mediation, and linking these to the narrow concept of translation 'proper', our analysis demonstrates how the museum functions as a local repository for transnational memories. Moreover, it shows how the museum becomes a catalyst for the further travelling of these memories. The focus lies on the museum's use of spatiality to translate personal memories of migration for a contemporary audience. It is the physical sensation of shared spaces - authentic or reconstructed - and the palimpsestic movement through those spaces that help visitors gain a tangible sense of what happened there. Interlingual translations of gallery texts are vital for the worldwide circulation of the stories, but occasionally cause shifts in the spatial-temporal framework. [ABSTRACT FROM AUTHOR]

The article is devoted to the problem of the preservation and restoration of objects of cultural heritage - monuments and museum collections - in the conditions of war. The article's analysis is supplemented by a brief overview of how mankind has approached the protection of its material cultural heritage in historical times. According to data verified by UNESCO, as of November 21, 2022, 218 sites have been damaged in Ukraine since the start of the war on February 24, including 95 religious sites, 17 museums, 78 buildings of historical and/or artistic significance, 18 monuments and 10 libraries.1 The experience of the ongoing Russian-Ukrainian war has once again proven the insecurity of cultural heritage sites and museums in the face of conflict. The authors analysed the Ukrainian experience of protecting monuments, the effectiveness of these efforts, and various ways of preserving the cultural heritage of peoples during wars. The discussion closes with conclusions on possible remedies for the destruction of material cultural objects in Ukraine. [ABSTRACT FROM AUTHOR]

The current energy crisis and the necessity to minimize energy waste suggest the need to assess non-air-conditioned buildings in terms of the need to install an air-conditioning system and to size and control it efficiently. This applies to historical museum buildings hosting artworks that require specific microclimate conditions for their preservation. With this view, this work analyzes the suitability of non-air-conditioned historical museum buildings to properly preserve exhibits. Therefore, two non-air-conditioned museums located in the historical city center of Florence, Italy, are considered as case studies, i.e., Vasari Corridor and La Specola. One year of indoor microclimate data monitored in representative rooms of the museums are analyzed according to the standard for artworks preservation and in terms of historical climate. Results of monitored indoor air temperature and relative humidity show that all monitored rooms are not suitable for the preservation of the exhibits without the installation of an air-conditioning system. However, to minimize the energy consumption, the hygrothermal control can be based on the observed historical climate that characterizes the environments, which presents acceptable preservation ranges much wider that the reference technical standard. In this way, the energy needs for the environmental control necessary to ensure the good conservation of the artworks can be significantly reduced. [ABSTRACT FROM AUTHOR]