PSI - Issue 29

Available online at www.sciencedirect.com Available online at www.sciencedirect.com ScienceDirect Structural Integrity Procedia 00 (2019) 000 – 000 vailable online at .sciencedirect.co ScienceDirect Structural Integrity Procedia 00 (2019) 000 – 000

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Procedia Structural Integrity 29 (2020) 134–141

Art Collections 2020, Safety Issue (ARCO 2020, SAFETY) Resilience of museum contents Michela Monaco a *, Antonella Manzo b , Marianna Aurilio a , Anna Tafuro a a Dipartimento di Architettura e Disegno Industriale, Università della Campania “Luigi Vanvitelli” b Ministero dei Beni e delle Attività Culturali e del Turismo, Parco Archeologico di Paestum rt llecti s , afet Iss e ( , ) ili f t t Michela Monaco a *, Antonella Manzo b , Marianna Aurilio a , Anna Tafuro a a iparti ento di Architettura e isegno Industriale, niversità della Ca pania “Luigi Vanvitelli” b Ministero dei Beni e delle Attività Culturali e del Turismo, Parco Archeologico di Paestum

Abstract bstract

© 2020 The Authors. Published by Elsevier B.V. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under responsibility of Marco Tanganelli and Stefania Viti The relationship between exhibitions andmuseum audiences has strongly changed in recent years. In an ongoing attempt to enga ge people and maintain audiences, new museums as well as those under renovation have acknowledged the importance of offering creative spaces. The pendulum has swung from the museum as a temple to keep treasures to the museum as an active space, a toolbox. Today’s audiences are no longer looking for a cold ‘white cube’museum experience. Instead, they are looking for warmer, shared experiences, i.e. people can be closer to the artefact and even touch it. This has induced attempts to exhibit museum artefacts in different ways. Nevertheless the exhibition devices for museums ought to be designed or strengthened to comply with the need of safety not only for the artefact but also for the visitors, in the sense established by current codes and regulations. Unfortunately the actions to which the artefacts are actually subjected are of different types. In addition to those related to the clima te and environment changes, there are those due to the actions typical of the museum site, like the earthquakes, and those related t o the political and cultural changes. The roots of the problem dates back to the first years of the sixties and only recently has been applied to the museum contents. An artefact can be in fact considered a rigid object placed on a shaking base that may enter a rocking motion and result in overturning. © 2020 The Authors. Published by Elsevier B.V. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under responsibility of Marco Tanganelli and Stefania Viti Keywords: Museum resilience; rocking dynamics; rigid body; statues. The relationship bet een exhibitions and useu audiences has strongly changed in recent years. In an ongoing atte pt to enga ge people and aintain audiences, ne useu s as ell as those under renovation have ackno ledged the i portance of offering creative spaces. The pendulum has swung from the museum as a temple to keep treasures to the museum as an active space, a toolbox. Today’s audiences are no longer looking for a cold ‘ hite cube’ useu experience. Instead, they are looking for ar er, shared experiences, i.e. people can be closer to the artefact and even touch it. This has induced atte pts to exhibit useu artefacts in different ays. evertheless the exhibition devices for useu s ought to be designed or strengthened to co ply ith the need of safety not only for the artefact but also for the visitors, in the sense established by current codes and regulations. nfortunately the actions to hich the artefacts are actually subjected are of different types. In addition to those related to the cli a te and environ ent changes, there are those due to the actions typical of the useu site, like the earthquakes, and those related t o the political and cultural changes. The roots of the proble dates back to the first years of the sixties and only recently has been applied to the museum contents. An artefact can be in fact considered a rigid object placed on a shaking base that ay enter a rocking otion and result in overturning. 2020 The uthors. Published by Elsevier . . This is an open access article under the - - license (http://creativeco ons.org/licenses/by-nc-nd/4.0/) Peer-revie under responsibility of arco Tanganelli and Stefania iti Keywords: useu resilience; rocking dyna ics; rigid body; statues.

* Corresponding author. Tel.: +39 081 5010827; fax: +39 081 5010704. E-mail address: michela.monaco@unicampania.it * Corresponding author. Tel.: +39 081 5010827; fax: +39 081 5010704. E- ail address: ichela. onaco unica pania.it

2452-3216 © 2020 The Authors. Published by Elsevier B.V. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under responsibility of Marco Tanganelli and Stefania Viti 2452-3216 2020 The uthors. Published by Elsevier . . This is an open access article under the - C-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-revie under responsibility of Marco Tanganelli and Stefania Viti

2452-3216 © 2020 The Authors. Published by Elsevier B.V. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under responsibility of Marco Tanganelli and Stefania Viti 10.1016/j.prostr.2020.11.149