Il Museo etnografico sardo è il maggiore museo etnografico della Sardegna. Il complesso di edifici che lo ospita, costruito tra gli anni Cinquanta e i Sessanta sul colle di S. Onofrio, a Nuoro, su disegno dell'Arch. Antonio Simon Mossa, appare come un villaggio sardo immaginario. Fino al Dicembre del 2003 l'esposizione si articolava in 18 sale che costituivano gli interni del complesso architettonico. Il Museo è attualmente oggetto di un grande progetto di restauro, riqualificazione e ampliamento. Come arrivare Arrivando dalla SS 131 dir si entra a Nuoro e ci si dirige verso la centralissima Chiesa Delle Grazie; da qui si possono chiedere indicazioni per la Biblioteca, in via Papandrea 6.
The Monumental Cemetery of Bonaria, whose construction was entrusted to the captain of the engineer Luigi Damiano, was consecrated in 1828. Halfway between park and architecture, its green space gained a special mention in the book \"Green of Cagliari\" by Siro Vannelli, for the many species of plants housed: cypresses and palms in large numbers, with a decorative but also symbolic function, holm oaks, carobs, pines, roses, ibiscus. The area of the hill presents early Christian burials. The architectural typologies of the burial structures are manifold: from tombs to the ground to those enclosed in the arches of the boundary arms, from the locals to the single monuments to the sumptuous chapels site at the highest part of the hill. The styles used to represent death are dissimilar to each other but very well harmonized and thus passes with discreet elegance from liberty to neo-gothic revival, from baroque to neoclassical to severe military sculpture. Extremely varied is the decoration of the tombs: funeral medallions, festoons, torches, scenographies, rounds, bas-reliefs, reliefs and sculptures all round. Stones, epigraphs and inscriptions complete the variety of the large burial area. For the realization of the sculptural and pictorial decoration of the Monumental cemetery of Bonaria di Cagliari, many local artists and also many from the Peninsula contributed: Giuseppe Sartorio, Giovanni Albertoni, Andrea Ugolini, Federico Vannelli, Guglielmo Bilancioni, Sisto Galavotti, Emanuele Giacobbe, Allegro Agostino, Loffredo, Giovanni Pandiani, Giovanni Battista Villa, Giacomo Bonati, Tito Sarocchi, Giovanni Battista Trojani, Enrico Geruggi.
It is set up inside the municipal slaughterhouse, disused for over forty years and restructured in order to use it as an exhibition hall. The building is structured on two floors. On the ground floor there is a room containing the collection of constructivist art, while another adjoining hall contains abstract artwork. The gallery that runs longitudinally in the museum allows you to admire a series of large-scale works that wind up about 6 m from the ground. A skylight floods the daylight within the entire complex.
The Museum is located in the center of Tortolì, on the ground floor of the former civic market, in a nineteenth-century building once home to the prison. It is a very particular museum, with two exhibition areas, an interior for temporary exhibitions, and the other one, featuring outdoors, articulated along the streets of the country and the surrounding area, giving life to the experience of the Contemporary Art Museum in the open air. \'\' On logu de s\'Iscultura \'\' was born as a sculpture park project at the end of the nineties and has attracted several international artists. A few years after its creation, the open-air museum presents viewers with a new urban and environmental design, made of large sculpture works that fit perfectly into the landscape and cultural landscape of Ogliastra.
The church of San Gemiliano stands on a hilltop named on Cunventu, perhaps in memory of an ancient monastic pertinence. Built in Romanesque form in the 13th century, San Gemiliano has an architectural simplicity that characterizes most of the medieval buildings of Sardinia. It was built on a Byzantine chamber tomb. In the 10th century, the middle-Byzantine fragments of prehistoric fence encircled marble pilasters were reused in Romanesque walls. The classroom is a single nave with wooden cover.
The library was built almost at the same time as the Ethnographic Institute. The heritage was formed over time both through the donation by Entities, cultural and private institutions, and through exchanges, but it grew primarily through the purchases of the Institute. The importance of the entire document collection is determined not so much by its size as it is placed among small structures (over 25,000 monographs and about 1000 journals of which over 300 currents) but above all by thematic specificity and typological variety.
The bibliographic heritage of the Cagliari State Archives Library is partially preserved on the first floor of the building, intended for interior services and the public, and partly between the storehouses on the ground floor and the second floor. The well-known library occupies a large room with open metal shelving, which winds along the perimeter of the room, and a ballroom accessible by a staircase. This arrangement, which resumes the classical arrangement of libraries of the past, as well as exalting the visual unity of the space, allows the functional coexistence of different workstations.