Günter Strauss e a Colecção de Minerais do Museu Mineiro do Louzal

Günter Strauss is Ph.D. in geology from the University of Munich in 1965. He is a German living by long time in Spain. Naw he is a SAPEC High Advisser His doctoral thesis, submitted in 1965, with the title "About the Geology of the Province of pyrite Southwest of the Iberian Peninsula and its oil fields, especially in the pyrite mine Louzal - Portugal" Systematized the term" Iberian Pyrite Belt ", called for the deposits of iron ore cuprífera, rich in sulfur and other metallic minerals, which occurs between the rivers Sado and Guadalquivir, where they settled several mining complexes, of Louzal, Rio Tinto, through Castro Verde, Santo Domingo and Tharsis. Local mining tradition with an ancient where today seeks to preserve the legacy and memory of mining through measures to enhance equity. The result of work carried out Louzal then formed the basis of geological and documentary collection that has survived and has been proposed for cultural units under the activities of the mining museum Louzal. The richness and importance of this collection, consisting of several hundred documents, geological samples classified, minerals and cartography, comes from its presence Situ"In its state of preservation, that despite the various threats it is still within reach of their preservation, and the relative rarity of such collections, with the units of mining production. This communication aims to reveal the contribution of Mr Strauss for the formation of this collection and submit his proposal for cultural units, with the hope that those responsible for safeguarding them understand the need for its preservation and dissemination. So discuss the scientific and professional way Günter Strauss, a geologic formation of the estate of Mines Louzal, and the draft musealization proposition.

Museums and quality, from the concept of the museum that carries out functions to the museum that provides services

Quality management Self-evaluation of the organisation Citizens/customers satisfaction Impact on society evaluation Key performance evaluation Good practices comparison (Benchmarking) Continuous improvement In professional environments, when quality assessment of museums is discussed, one immediately thinks of the honourableness of the directors and curators, the erudition and specialisation of knowledge, the diversity of the gathered material and study of the collections, the collections conservation methods and environmental control, the regularity and notoriety of the exhibitions and artists, the building’s architecture and site, the recreation of environments, the museographic equipment design. We admit that the roles and attributes listed above can contribute to the definition of a specificity of museological good practice within a hierarchised functional perspective (the museum functions) and for the classification of museums according to a scale, validated between peers, based on “installed” appreciation criteria, enforced from above downwards, according to the “prestige” of the products and of those who conceive them, but that say nothing about the effective satisfaction of the citizen/customers and the real impact on society. There is a lack of evaluation instruments that would give us a return of all that the museum is and represents in contemporary society, focused on being and on the relation with the other, in detriment of the ostentatious possession and of the doing in order to meet one’s duties. But it is only possible to evaluate something by measurement and comparison, on the basis of well defined criteria, from a common grid, implicating all of the actors in the self-evaluation, in the definition of the aims to fulfil and in the obtaining of results.