DESIGN FOR CULTURAL HERITAGE: Towards a cultural based and centred social innovation Eleonora Lupo, 22 MAGGIO 2014
Design for cultural heritage | Eleonora Lupo
Cultural asset (i.e, territorial, immaterial…) is a distributed heritage of values and knowledge embodied in people, rooted in activities and places, that exists only if it is continuously shared and socialised, re-created and transmitted, making it evolving and transforming during the time: working for its development, innovation or better for its “active-action” has an eminent social impact.
Lupo E., “Beyond localism, looking for sustainability. Designing “typical knowledge” active-action”, in Cipolla C., Peruccio P. P. (ed. by), Changing the change proceedings, Allemandi, Torino, 2008.
Design for cultural heritage | Eleonora Lupo
Active-action design processes are innovation processes that implies the recontextualisation, actualisation, incorporation of cultural values in new design solutions • culture experience and appropriation (tangible and intangible CH) • community engagement, enabling empowerment, belonging, self-representation • actualisation, incorporation and and re-use of CH in the contemporary context • capitalisation of knowledge and competences by cultural institutions (cointerpretation with consistent cultural contents) • enabling platforms, networks &dynamics • local resources and territorial development Lupo E., “Beyond localism, looking for sustainability. Designing “typical knowledge” active-action”, in Cipolla C., Peruccio P. P. (ed. by), Changing the change proceedings, Allemandi, Torino, 2008 Lupo E. et al., “Design research and cultural heritage: activating the value of cultural assets as open-ended knowledge system”, in Design Principles and Practices Journal, vol 5, 2011a .
Design for cultural heritage | Eleonora Lupo
Design as activator is always more often a mediator, a translator of capabilities, an empowerment of initiatives, in other words an “open-ended” generative approach that creatively provides social and cultural contexts for innovation rather than contents. Design acts as a mean for discursive approach and strategic social conversations, leaving to the society, the community, the territory, the opportunity to represent themselves and the possibility to determine and cocreate the design outputs and results Lupo E., “Beyond localism, looking for sustainability. Designing “typical knowledge” active-action”, in Cipolla C., Peruccio P. P. (ed. by), Changing the change proceedings, Allemandi, Torino, 2008 Lupo E. et al., “Design research and cultural heritage: activating the value of cultural assets as open-ended knowledge system”, in Design Principles and Practices Journal, vol 5, 2011a Campagnaro C., Lupo E., “Formare comunità, in-formare territori. Designing connected places: fare scuola di design per il territorio”, in Tafter Journal. Esperienze e strumenti per la cultura e per il territorio, n°15, 2009b. .
Design for cultural heritage | Eleonora Lupo
smart heritage focuses on a smart approach and not on ICT tools It is an articulated design strategy for cultural contents experience, appropriation and co-development: • virtual and digital museums and exhibitions • smart and open knowledge repositories • digital storytelling and narration (visualisation and socialisation tools) • responsive and adaptive media and devices • places regeneration and local development • creative platforms and system • … Lupo E. Ozdil E., “Towards a smart heritage as future diffused museums: design and communication technologies to innovate the experience of the cultural patrimony in the smart cities”, In Inclusive Museum Journal, Commonground Publishing, 2013
Design for cultural heritage | Eleonora Lupo
Social innovation
Cultural based social innovation
Resources/asset
Any, social
cultural
Objective/purpose (result, object or content of design)
Social (“improving society in solving unmet needs”)
Cultural (i.e. new cultural values likeinterculturality, trans-generationality..)
Approach:(nature of) process, methodology tools (enabling conditions)
Mainly social
Mainly cultural and social
Driver (led by
Many. i.e. design, dvelopment
design
Lupo E., “Beyond social innovation: design as cultures active-action”, In 5th STS Italia Conference. A Matter of Design: Making Society through Science and Technology, 2014 (forthcoming)
Qualities of social innovation • mixes bottom-up initiatives with top-down strategies • Incremental (reconfigured eliciting potentialities otherwise invisible) or radical • related to sustainability • situated action • relational and distributed • open ended process • …
Lupo E., “Beyond social innovation: design as cultures active-action”, In 5th STS Italia Conference. A Matter of Design: Making Society through Science and Technology, 2014 (forthcoming)
Design for cultural heritage | Eleonora Lupo
Cultural based social innovation This innovation process addresses an indirect social need, because is focused on cultural needs (like the one of maintaining alive and developing a heritage, a community knowledge, a specific cultural asset of a locality) that are an eminently social and collective good. A cultural driven social innovation is a set of design actions in which culture is together the asset and the objective of intervention. in the cultural driven innovation the development can be only an induced (yet expectable) indirect result, but the primary objectives are the ones connected with the heritage exploitation and innovation, that are in a way more indeterminate and context or situation based, as well as the “unmet social needs”: social acknowledgment, appropriation, understanding or better “activation” of the heritage in new design solutions than can re-distribute the values to the territory or the owning community Lupo E., “Beyond social innovation: design as cultures active-action”, In 5th STS Italia Conference. A Matter of Design: Making Society through Science and Technology, 2014 (forthcoming)
Design for cultural heritage | Eleonora Lupo
Qualities of cultural based social innovation • situated but open ended action (necessarily always localized but a “descriptive” (Dematteis, 1995) directed to context providing for innovation; • integration between the opposites of a top-down and bottom-up approach; • scale: multiscalar vision able to mediate from very specific and punctual actions to general ones in a continuous focusing of the different design needs according to a zoom-in/zoom-out logic from concreteness to comprehensive vision; • time: overlapping phases, connecting short term actions, with an immediately perceivable result, to strategic long-term projects • cultural sustainability framework: ownership, control and impact of the social and cultural assets; • inter-culturality and trans-generationality.
Lupo E., “Beyond social innovation: design as cultures active-action”, In 5th STS Italia Conference. A Matter of Design: Making Society through Science and Technology, 2014 (forthcoming)
Design for cultural heritage | Eleonora Lupo
PROJECTS 1. local resources as cultural heritage 2. local heritage as resource 3. cultural heritage as resource
Design for cultural heritage | Eleonora Lupo
Cultural asset (i.e, territorial, immaterial‌) is a distributed heritage of values and knowledge embodied in people, rooted in activities and places, that exists only if it is continuously shared and socialised, re-created and transmitted, making it evolving and transforming during the time: working for its development, innovation or better for its “active-actionâ€? has an eminent social impact.
Design for cultural heritage | Eleonora Lupo
Designing Connected Places is an international summer design school focused on the topic of design for local development. It is promoted by Politecnico di Milano and Politecnico di Torino within the framework of Torino 2008 World design capital. Using the tools of design, solutions have been outlined for 6 problems expressed by 6 local bodies. These are: health and well-being, food and new food networks, urban mobility, security and quality of life in the city, new production systems, and forms of representation of the region and its communities.
Design for cultural heritage | Eleonora Lupo
Meta-design leaders (more than 40 reseachers) Interlocution with local stakeholders Interlocution with local experts Interloction with academic experts
Elaboration of the design brief
Case study collecting Elaboration of the dossier
Wks tutoring
Local experts/ stakeholders (more than 20 experts) Definition of local needs
Contribution to the design brief
Result evaluation
Academic experts Definition of local needs
Contribution to the dossier
Project leaders (6 leaders) Contribution to the design brief
Students (200 students)
Wks direction Wks participation
Meta-design dossier
Metadesign January 2008
Design for cultural heritage | Eleonora Lupo
Concepts
Concept design May 2008
July 2008
www.contemporaryauthentic.com/ Design for cultural heritage | Eleonora Lupo
The Documentation phase: outcomes The on line repository: http://archivio.contemporaryauthentic.com
Design for cultural heritage | Eleonora Lupo
The activation phase: the design workshop 9 conceptsÂ
Design for cultural heritage | Eleonora Lupo
Contemporary Authentic (http://www.contemporaryauthentic.com) Project leader Politecnico Milano | Dip. di Design, Design for Cultural Heritage Partners Università Statale di Torino | Dip. Di Scienze dell’Educazione e della Formazione Politecnico di Torino | SiTI – Istituto Superiore sui Sistemi Territoriali per l’Innovazione Fondazione Cologni dei mestieri d’arte | Centro arti e mestieri Universitat de Barcelona | Dip. Antropologia Social i Història d’Amèrica i Africa ASPACI, Associazione per la Salvaguardia del Patrimonio Culturale Immateriale The Hong Kong Polytechnic University | School of Design, Community Museum Project
Design for cultural heritage | Eleonora Lupo
PROJECT 3 Museums&Libraries in the age of migration
www.mela-project.eu/ Design for cultural heritage | Eleonora Lupo
Experimental Action Museo Diocesano, Milano Religious asset as potential intercultural heritage See more at: http://www.mela-blog.net/archives/3021 http://mwf2014.museumsandtheweb.com/ proposals/strategies-for-connecting-religiouscultural-heritage-the-role-of-technologies-inan-on-field-experimental-action-of-museodiocesano-milan/
Design for cultural heritage | Eleonora Lupo
Augmented technologies Design for CH is an approach activating a “smart heritage”: a “smart heritage” is more than a digitally accessible and narrated heritage. Is a heritage that is diffused in a richer way because in addition of being physically spread outside the traditional museum walls, it is exploited and augmented by digital technologies and accessible by digital devices, making it possible for a deep, dense and intense experience that permeates and extends time and space, connecting the physical to the virtual dimension, mixing the individual and the collective experience, bridging immaterial contents with the tangibility of a territory. Lupo E. Ozdil E., “Towards a smart heritage as future diffused museums: design and communication technologies to innovate the experience of the cultural patrimony in the smart cities”, In Inclusive Museum Journal, Commonground Publishing, 2013
Design for cultural heritage | Eleonora Lupo
Capurro R., Chiesa S., Lupo E., Spallazzo D., Trocchianesi R., “Technologies for supporting inter-religious and inter-cultural dialogue at religious museums: the on-field experimental action of Museo Diocesano, Milano�. In Gottlieb H. (ed. by) Beyond Control-The collaborative museum and its challenges, Proceedings of the Nodem 2013 International Conference on Design and Digital Heritage, Interactive Institute Swedish ICT, Stockholm, 2013.
Design for cultural heritage | Eleonora Lupo
DISCUSSION
Design for cultural heritage | Eleonora Lupo
Reccomandations An articulated strategy interconnecting four design dimensions: • cultural contents (consistency, authoritativeness) • space (places,cities, territories…) • social engagement • technology Dimensions of observation Technology
Space
Cultural contents
Sociality
1. Amplified
✔
✔
✔
2. Multifaceted
✔
3. Connective
✔
(✔)
(✔)
✔
4. Performative
✔
✔
✔
(✔)
✔
Lupo E., Parrino L., Radice S., Spallazzo D., Trocchianesi R., “Migrations and multiculturalism. A design approach for cultural institutions”, in Innocenti P. (ed) Migrating heritage: networks and collaborations across European museums, libraries and public cultural institutions, Ashgate, 2014.
Design for cultural heritage | Eleonora Lupo
Heritage assets
Dynamics of interaction
People | identity | local knowledge& production | City|
Design for cultural heritage | Eleonora Lupo
Belonging | Engagement | Collaboration | Contribution | Empowerment
Values and qualities of CH activation for a cultural based social innovation
Territory | Institutions | Museums&Archives|
Heritage assets
Dynamics of interaction
People | identity | local knowledge& production | City|
Design for cultural heritage | Eleonora Lupo
Belonging | Engagement | Collaboration | Contribution | Empowerment
Values and qualities of CH activation for a cultural based social innovation ation v o n in bility a n i a sust ty urali t l u c inter Territory | Institutions | Museums&Archives|
s-ge Tran
y nalit o i t a ner em
tage Heri
syst d e nd en-e p o as
Sustainability factors for cultural based innovation (CH activation): Ownership defines how much the depositary of the knowledge undergoing the exploitation is involved in the process; Control estimates the capacity of the owner to manage and decide how and when to use his knowledge; Impact evaluates the amount of the benefits that the owner receive back (directly or indirectly) by the exploitation process
Lupo E., “Beyond localism, looking for sustainability. Designing “typical knowledge” active-action”, in Cipolla C., Peruccio P. P. (ed. by), Changing the change proceedings, Allemandi, Torino, 2008.
Design for cultural heritage | Eleonora Lupo
Heritage as open ended system Potential of innovation (actualisation and transformation) of CH
Design for cultural heritage | Eleonora Lupo
THANKS eleonora.lupo@polimi.it http://designview.wordpress.com/
Design for cultural heritage | Eleonora Lupo