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INQUADRAMENTO GENERALE _CODICE RILIEVO 190 - FEJmDJP EFMM "5. EJ WJB 'PS[F BSNBUF SFBMJ[[BUF OFM TFSWJWB QFS BDDPHMJFSF MF WFUUVSF JO FTFSDJ[JP F QFS TWPMHFSF PQFSB[JPOF EJ QJDDPMB NBOVUFO[JPOF *M DPNQMFTTP NBOUJFOF BODPSB MF GVO[JPOJ PSJHJOBSJF BMMF RVBMJ TJ TPOP BHHJVOUF OFM UFNQP MF PQFSB[JPOJ EJ NBOVUFO[JPOF QJรก BQQSPGPOEJUB TVJ DPOWPHMJ EJWFOUBOEP DPTร VO EFQPTJUP DPO GVO[JPOJ EJ PGmDJOB M BSFB SJTVMUB BDDFTTJCJMF F WJTJUBCJMF USBNJUF QFSNFTTP

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FORZE ARMATE INQUADRAMENTO URBANISTICO *M DPNQMFTTP TPSHF TV VO BSFB EJ GPSNB JSSFHPMBSF USB WJB $IJOPUUP F WJB 'PS[F "SNBUF -B MPDBMJ[[B[JPOF JO RVFTUB [POB TFSWF DPNF EFQPTJUP EJ USBN QFS SJEVSSF iUFNQJ NPSUJw EVSBOUF JM USBHJUUP DIF MF WFUUVSF QFSDPSSPOP BMM JOJ[JP F BMMB mOF EFM MPSP FTFSDJ[JP *M TJUP ร DPNQPTUP EB USF DPSQJ M FEJmDJP " EJ GPSNB SFUUBOHPMBSF BMMVOHBUB DPO EVF JOHSFTTJ TVJ MBUJ DPSUJ 40

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alto  stato  di  conservaione interesse  architettonico  medio 42

D.02

STATO DI FATTO

a b c

JnFTTJCJMJUÃ&#x2039; EJ SJVTP

JOUFSFTTF BSDIJUFUUPOJDP

JOUFSFTTF EPDVNFOUBSJP

QSFTFO[B EJ DBSBUUFSJ PSJHJOBSJ

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UFUUP

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UJQP TUSVUUVSF WFSUJDBMJ

BMUF[[B FEJmDJP

OVNFSP QJBOJ GVPSJ UFSSB

b

a

c

EJT D B DBQ JOU BMUP BMUP NFE med BMUP

EJT D B QJB JOU BMUP CBT CBT bas BMUP

con NVS QBE JOU BMUP NFE NFE medmed

43

INQUADRAMENTO GENERALE _CODICE RILIEVO 191 - FEJmDJP EFMM "[JFOEB 5SBOWJBSJB .JMBOFTF EJ WJB -FPODBWBMMP FSFUUP OFM ร VUJMJ[[BUP DPNF EFQPTJUP EFMMF WFUUVSF QFS JM USBTQPSUP TJ SPUBJB "MM JOUFSOP EFM DPNQMFTTP EJ EJNFOTJPOJ MFHHFSNFOUF JOGFSJPSJ BM EFQPTJUP 7JUUPSJB EJ 7JBMF $BNQBOJB TJ FGGFUUVBOP BODPSB MF BUUJWJUร EJ EFQPTJUP F DVTUPEJB EFJ SFBN F MF PQFSB[JPOJ EJ QVMJ[JB F WFSJmDB EFMMF WFUUVSF /FM DPSTP EFM UFNQP TJ TPOP BGmBODBUJ JOUFSWFOUJ EJ NBOVUFO[JPOF QJรก TQFDJmDB UBOUP EB GBS BTTVNFSF BM EFQPTJUP BODIF JM SVPMP EJ PGmDJOB - BSFB SJTVMUB BDDFTTJCJMF TPMBNFOUF USBNJUF BQQPTJUP QFSNFTTP

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D.11

LEONCAVALLO

BM EJBHPOBMF DIF DPOTFOUF JM SJDPWFSP EJ VO NBHHJPS OVNFSP EJ WFUUVSF - FEJmDJP # B QJBOUB USJBOHPMBSF BDDPHMJF MF TBMF EJ SJUSPWP EFM QFSTPOBMF WJBHHJBOUF NFOUSF M FEJmDJP $ EJ GPSNB JSSFHPMBSF PTQJUB GVO[JPOJ EJ TFSWJ[JP QFS J M QFSTPOBMF RVBMJ TQPHMJBUPJ CBHOJ F EPDDF

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45

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a

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b DPO TUSVUUVSB JO DFNFOUP BSNBUP F DPQFSUVSB QJBOB TJ BSUJDPMB TV VOB QJBOUB USJBOHPMBSF DPO VO QJDDPMP DPSUJMF JOUFSOP QBSUF BE VO VOJDP QJBOP F MB TVB SFTUBOUF TV EVF MJWFMMJ - FEJmDJP c QSFTFOUB MF TUFTTF DBSBUUFSJTUJDIF TUSVUUVSBMJ NB IB VOB QJBOUB B GPSNB USBQF[PJEBMF 4JB M FEJmDJP b DIF M FEJmDJP c TJ QSFTFOUBOP DPO VOB GBDDJBUB TV TUSBEB MJOFBSF QSJWB EJ EFDPSB[JPOJ NB JOHFOUJMJUB EB FMFNFOUJ B SJMJFWP JO DFNFOUJ DIF DPSPOBOP MF mOFTUSF

D.11

STATO DI FATTO

alto sinteresse architettonico buona flessibilità al riuso 46

a b c

EJT D B GBM

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c

a

b

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EJT D B QJB JOU BMUP QBS NFE med med

EJT D B QJB JOU med QBS CBT med med

47

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D.11

NOTIZIE

48

INTERNO a + PROSPETTO c

INTERNO a

49

INQUADRAMENTO GENERALE _CODICE RILIEVO 192 - FEJmDJP EFMM "5. EJ WJB .FTTJOB SFBMJ[[BUP OFM GV SFBMJ[[BUP QFS SBDDPHMJFSF MF WFUUVSF JO FTFSDJ[JP F QFS TWPMHFSF PQFSB[JPOJ EJ QJDDPMB NBOVUFO[JPOF *M DPNQMFTTP NBOUJFOF BODPSB MF GVO[JPOJ PSJHJOBSJF BMMF RVBMJ TJ TPOP BHHJVOUF OFM UFNQP PQFSB[JPOJ QJรก DPNQMFTTF EJ NBOVUFO[JPOF TVJ DPOWPHMJ EJWFOFOEP DPTร VO EFQPTJUP DPO GVO[JPOJ EJ PGmDJOB M BSFB SJTVMUB BDDFTTJCJMF F WJTJUBCJMF TPMP DPO TQFDJmDB BVUPSJ[[B[JPOF

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MESSINA INQUADRAMENTO URBANISTICO -B SJNFTTB EFMM "UN EJ WJB .FTTJOB ร DPTUJUVJUB EB TFJ DPSQJ EJ GBCCSJDB FE PDDVQB HSBO QBSUF EJ VO WBTUP JTPMBUP EJ GPSNB JSSFHPMBSF EFMJNJUBUP EB WJB .POWJTP WJB 5BSUBHMJB F WJB 1SPDBDDJOJ *M DPNQMFTTP IB VO FMFWBUB BDDFTTJCJMJUร JO RVBOUP TJ USPWB OFJ QSFTTJ EJ VO BSFB CFO TFSWJUB EB NF[[J QVCCMJDJ (BSJCBMEJ 1PSUB 7PMUB ร JOPMUSF EPUBUP EJ QJรก GSPOUJ FE JOHSFTTJ EBMMF TUSBEF DIF EFUFSNJOBOP 50

M JTPMBUP -B [POB QSFWBMFOUFNFOUF SFTJEFO[JBMF F DPNNFSDJBMF ร DBSBUUFSJ[[BUB EBMMB QSFTFO[B EJ HSBOEJ JOGSBTUSVUUVSF VSCBOF MFHBUF BE BUUJWJUร TQFDJBMJ[[BUF RVBMJ MP TDBMP 'BSJOJ JM DPNBOEP EFJ 8 ' ' F JM $JNJUFSP .POVNFOUBMF FE BMDVOJ FEJmDJ UFS[JBSJ MVOHP WJB $FOJTJP

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52

D.04

STATO DI FATTO

d c b f

JnFTTJCJMJUÃ&#x2039; EJ SJVTP

JOUFSFTTF BSDIJUFUUPOJDP

JOUFSFTTF EPDVNFOUBSJP

QSFTFO[B EJ DBSBUUFSJ PSJHJOBSJ

TUBUP EJ DPOTFSWB[JPOF

mOJUVSF NVSBUVSF QFSJNFUSBMJ

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UJQP TUSVUUVSF WFSUJDBMJ

BMUF[[B FEJmDJP

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a b c d e f

NBUFSJBMJ TUSVUUVSF WFSUJDBMJ

a

e

EJT D B DBQ JOU BMUP UPU BMUP med med

EJT NVS DBQ JOU BMUP QBS BMUP BMUP BMUP

EJT D B QJB JOU BMUP QBS BMUP med med

EJT NVS QJB JOU med QBS NFE med med

EJT D B CPU JOU med QBS NFE med med

EJT D B TIE JOU med QBS NFE med med

53

*M EFQPTJUP EJ WJB .FTTJO DIF GV JM QSJNP BE FTTFSF DPTUSVJUP JOTJFNF B RVFMMP EJ WJB $VTUPEJ NBOUJFOF BODPSB PHHJ BMDVOJ EFJ DBSBUUFSJ PSJHJOBSJ /FM JM EFQPTJUP EJ WJB $VTUPEJ TVCÃ&#x2013; VO JNQPSUBOUF JOUFSWFOUP EJ SJGBDJNFOUP F OVPWF PPTUSV[JPOJ WFOOFSP SFBMJ[[BUF JO RVFHMJ BOOJ

LE CARATTERISTICHE DEL DEPOSITO DI VIA MESSINA SONO DIVERSE DAGLI ALTRI FABBRICATI DELLâ&#x20AC;&#x2122;ATM, GENERALMENTE IN CEMENTO ARMATO, IN ESSO Ã&#x2C6; VISIBILE UNA TETTOIA CON STRUTTURA PORTANTE IN METALLO.

D.04

NOTIZIE INTERNO a + PROSPETTO c

54

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55

INQUADRAMENTO GENERALE _CODICE RILIEVO 193 /FM M "[JFOEB 5SBOWJBSJB .JMBOFTF SFOEFWB PQFSBUJWB VOB OVPWB BVUPSJNFTTB QFS BVUPCVT F mMPCVT TJUP BMM BOHPMP USB 7JBMF .PMTF F 7JB $FTBSF -PNCSPTP *M QSPHFUUP FSB TUBUP SFEBUUP EBM 3FQBSUP 'BCCSJDBUJ EFMMB TUFTTB "[JFOEB

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D.05

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*OTFEJBUBTJ JO VO MBUP DIF PDDVQB MB NBHHJPS QBSUF EJ VO JTPMBUP RVBESBUP IB M BDDFTTP QSJODJQBMF QPTUP USB WJB -PNCSPTP F WJBMF .PMJTF EBM RVBMF TJ FOUSB OFM DPSUJMF EFMM BSFB BODIF QJรก B TVE VO BMUSP JOHSFTTP TJ USPWB TV WJB "CFUPOF PSB TPMP VUJMJ[[BUP B TDPQP EJ TFSWJ[JP

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58

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d, e FE f FSBOP TUBUJ FSFUUJ DPO M JOUFO[JPOF EJ TDPSQPSBSF BMDVOF PGmDJOF EFTUJOBUF QFSMPQJá BMMB SJQBSB[JPOF EJ QJDDPMF QBSUJ F DPTUJUVJTDPOP VOB QBSUF B TF TUBOUF OFM TJUP QFS JNQJBOUP MPDBMJ[[B[JPOF F QFS TUSVUUVSB TJ USBUUB EJ BMDVOF DPTUSV[JPOJ MVOHIF F CBTTF PSHBOJ[[BUF BUUPSOP BE VO FEJmDJP B EVF QJBOJ MB DVJ EJTQPTJ[JPOF Ò mOBMJ[[BUB B DSFBSF VO DPSUJMF BE BOFMMP

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D.05

STATO DI FATTO

a e d

b f

a b c d e f

JnFTTJCJMJUÃ&#x2039; EJ SJVTP

JOUFSFTTF BSDIJUFUUPOJDP

JOUFSFTTF EPDVNFOUBSJP

QSFTFO[B EJ DBSBUUFSJ PSJHJOBSJ

TUBUP EJ DPOTFSWB[JPOF

mOJUVSF NVSBUVSF QFSJNFUSBMJ

UFUUP

NBUFSJBMJ TUSVUUVSF WFSUJDBMJ

UJQP TUSVUUVSF WFSUJDBMJ

BMUF[[B FEJmDJP

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c

EJT D B QJB JOU BMUP UPU BMUP med med

EJT D B CPU JOU med UPU BMUP BMUP BMUP

EJT D B QJB JOU BMUP UPU BMUP med med

EJT D B QBE JOU bas UPU NFE med med

EJT D B DBQ JOU med UPU NFE med med

EJT D B QJB JOU med UPU NFE med med

59

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F EJ WJBMF .PMJTF OFM 2VFTU VMUJNP SJTQPOEFWB BMMB OFDFTTJUร EJ EBSF SJDPWFSP BJ OVPWJ NF[[J EJ USBTQPSUP JOUSPEPUUJ BM mBODP EFJ USBN PWWFSP mMPCVT F BVUPCVT QJรก FDPOPNJDJ F nFTTJCJMJ

D.05

NOTIZIE PROSPETTO a

60

CORTILE INTERNO

DETTAGLIO PROSPETTO b

61

INQUADRAMENTO GENERALE _CODICE RILIEVO 195 *M EFQPTJUP EFMM "[JFOEB 5SBOWJBSJB .JMBOFTF TJUP JO WJB $VTUPEJ BM OVNFSP DJWJDP GV DPTUSVJUP OFM *M MPUUP FSB HJร PDDVQBUP EB VO JNQJBOUP EJ EFQPTJUP TFNQSF EJ QSPQSJFUร EFMM "[JFOEB EJWFOVUP DPM UFNQP JOBEFHVBUP BMMB GVO[JPOF EJ SJDPWFSP EFJ USBN QFS MF BVNFOUBUF FTJHFO[F EJ TFSWJ[JP

D.07

TICINESE INQUADRAMENTO URBANISTICO *M OVPWP EFQPTJUP USBOWJBSJP EJ WJB $VTUPEJ EFUUP BODIF 5JDJOFTF QFS MB WJDJOBO[B BMMB BOPOJNB 1PSUB FSB TUBUP TUVEJBUP F SFBMJ[[BUP EBM 3FQBSUP 'BCCSJDBUJ EFMMB TUFTTB "UN TFDPOEP J OVPWJ QSJODJQJ DPTUSVUUJWJ F EJTUSJCVUJWJ TVM MPUUP EJ VO JNQJBOUP HJร FTJTUFOUF FE JO QSFDFEFO[B EJ QSPQSJFUร EFMMB 4PDJFUร "OPOJNB EFHMJ 0NOJCVT -B WJDJOBO[B BM DFOUSP EFMMB 62

DJUUร OF GBDFWB VO TJUP JEFBMF QFS MB MPDBMJ[[B[JPOF EJ VO EFQPTJUP USBOWJBSJP QPJDIร QPUFWBOP SJEVSTJ MF USBUUF EJ TFSWJ[JP DIF J USBN EPWFWBOP QFSDPSSFSF QFS SBHHJVOHFSF JM SJDPWFSP -B [POB BUUVBMNFOUF MB EJ 1PSUB 5JDJOFTF -PEPWJDB o 7JHFOUJOP o (SBUPTPHMJP o $IJBSBWBMMF FSB DBSBUUFSJ[[BUB EBMMB QSFTFO[B EFM (BTPNFUSP PSNBJ OPO QJรก FTJTUFOUF

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D.07

STATO DI FATTO

b

c a

g

JnFTTJCJMJUÃ&#x2039; EJ SJVTP

JOUFSFTTF BSDIJUFUUPOJDP

JOUFSFTTF EPDVNFOUBSJP

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NBUFSJBMJ TUSVUUVSF WFSUJDBMJ

BMUF[[B FEJmDJP

OVNFSP QJBOJ GVPSJ UFSSB

a b c d e f g

UJQP TUSVUUVSF WFSUJDBMJ

d

f e

EJT D B QJB JOU med UPU BMUP BMUP BMUP

EJT D B CPU JOU med QBS CBT bas bas

EJT D B QJB JOU med QBS CBT bas bas

EJT D B QBE JOU med UPU BMUP BMUP med

con NVS DBQ JOU med UPU NFE med bas

EJT NVS DBQ JOU med UPU NFE med bas

con NVS DBQ JOU med UPU NFE med bas

65

-B 4PDJFUË "OPOJNB EFM 0NOJCVT BWFWB DPTUSVJUP OFMMB DJUUË EJ .JMBOP USF EFQPTJUJ QFS JM SJDPWFSP EFJ USBN B USB[JPOF BOJNBMF QFS MB QSFDJTJPOF JO 7JB 4JSUPSJ OFM JO WJB #SBNBOUF OFM F JO WJB $VTUPEJ OFM LO SPAZIO ERA ORGANIZZATO

COME IN UNA STALLA AGRICOLA P BMMF QPTUF QFS J DBWBMMJ QPJDIÏ TJ EPWFWB QSPWWFEFSF BMM JOTFSJNFOUP EJ mFOJMJ NBHB[[JOJ QFS DFSFBMJ WBTDIF E BDRVB EFQPTJUJ QFS MF WBSJF BUUSF[[BUVSF GVDJOF EJ GBCCSJ QPSUJDBUJ MFUBNBJ FE BCCFWFSBUPJ * TVDDFTTJWJ BNQMJBNFOUJ EFM SJTQFDDIJBWBOP MB OFDFTTJUË EJ SJTUSVUUVSBSF M JOTFEJBNFOUP JO CBTF BMMB OVPWB UJQPMPHJB EJ USB[JPOF FMFUUSJDB DIF BWFWB QPSUBUP BE VO BVNFOUP EJ TFSWJ[JP USBOWJBSJP -B SJDPTUSV[JPOF EFM EFQPTJUP BWWFOVUB OFM QFSNFUUFWB EJ SJDPWFSBSF DPOUFNQPSBOFBNFOUF WFUUVSF 5SB HMJ BDDPSHJNFOUJ JOOPWBUJWJ BEPUUBUJ TJ SJDPSEB MB TPMV[JPOF EJTUSJCVUJWB EFMMF GPTTF EJ NBOVUFO[JPOF EFJ DBSSFMMJ EFJ USBN DIF FSBOP USB MPSP DPMMFHBUF USB MF GPTTF WJ FSBOP TPMP QJMBTUSJ DPTJDDIÒ MB UPUBMF WJTJCJMJUË EFMM BNCJFOUF QFSNFUUFWB BM DBQP PGmDJOB EJ DPOUSPMMBSF NFHMJP M BUUJWJUË EFHMJ PQFSBJ

D.07

NOTIZIE PROSPETTO b

66

INTERNO a

67

INQUADRAMENTO GENERALE _CODICE RILIEVO 196 - 0GmDJOB (FOFSBMF EFMM "[JFOEB 5SBOWJBSJB .JMBOFTF Ã&#x2019; TJUVBUB JO WJB 5FPEPTJP BM OVNFSP DJWJDP &EJmDBUB OFM FSB TUBUB QSPHFUUBUB EBM 3FQBSUP 'BCCSJDBUJ EFMMB TUFTTB B[JFOEB

INQUADRAMENTO URBANISTICO -B DPTUSV[JPOF EJ VOB OVPWB 0GmDJOB (FOFSBMF OFM SJTQPOEFWB BMMF OFDFTTJUÃ&#x203A; EJ BDDFOUSBSF JO VO VOJDP JNQJBOUP BUUJWJUÃ&#x2039; EJ NBOVUFO[JPOF JO QSFDFEFO[B TWPMUF QSFTTP QJDDPMJ EFQPTJUJ TQBSTJ QFS JM UFSSJUPSJP NVOJDJQBMF -B MPDBMJ[[B[JPOF OFMM BUUVBMF [POB EJ 1PSUB 7FOF[JB o $JUUÃ&#x2039; 4UVEJ o -BNCSBUF FSB EPWVUB BMMB WJDJOBO[B EFM MPUUP BM DFOUSP DJUUÃ&#x2039; DPTJDDIÃ&#x2019; JM nVTTP EFMMF WFUUVSF MVOHP J QFSDPSTJ VSCBOJ QSJODJQBMJ QPUFWB FTTFSF SFHPMBNFOUBUP F BMJNFOUBUP RVPUJEJBOBNFOUF F DPTUBOUFNFOUF *M MPUUP TRVBESBUP FSB DBSBUUFSJ[[BUP EBMMB QSFTFO[B EJ OVNFSPTJ SFQBSUJ EJ QJDDPMB MBWPSB[JPOF MVOHP J DPOUPSOJ EFMM BSFB BM DFOUSP EFMMB RVBMF 68

D.11

TEODOSIO

WJ FSB VO BNQJP F NBFTUPTP FEJmDJP QFS MB NBOVUFO[JPOF WFSB F QSPQSJB * CJOBSJ USBOWJBSJ EJTFHOBWBOP VO BOFMMP BUUPSOP B RVFTU VMUJNB DPTUSV[JPOF DPO BSSFTUJ JO DPSSJTQPOEFO[B EFJ QJDDPMJ SFQBSUJ F TJ DPMMFHBWBOP BODIF DPO M BUUJHVP EFQPTJUP EJ WJB -FPODBWBMMP DPTUSVJUP OFM EPQP M BUUJWB[JPOF EFMM JNQJBOUP RVJ SJMFWBUP

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BUUJWJUÃ&#x2039; PSJHJOBMF TFSWJ[J PGmDJOB "5.

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/*3&4*%&/5* %&/4*5"h "#*5"5*7"

-03&50 BC BC

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$*55"h %*63/" $*55"h /05563/"

BC BC

/*- .&%*" .*-"/0 "#*5";*0/& 6''*$*0 $0..&3$*0 */%6453*" 4&37*;* 130%655*7* "-530 "#*5";*0/* */ "''*550

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BDDFTTJCJMJUÃ&#x2039; BMUB

JOUFSFTTF JOGSBTUSVUUVSB

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69

- FEJmDJP QSJODJQBMF e Ò MB HSBOEF PGmDJOB DIF DBSBUUFSJ[[B M JNQJBOUP -B TUSVUUVSB B USF DBNQBUF DPO QJMBTUSJ JO DFNFOUP BSNBUP QFSNFUUF JM SJDPWFSP EJ DJSDB OPWBOUB WFUUVSF EFQPTJUBUF EB EVF BQQPTJUJ DBSSFMMJ DIF TDPSSPOP OFMMB OBWBUB DFOUSBMF JO VO BMMPHHJBNFOUP DPO GPTTB -B EPQQJB TFSJF EJ CJOBSJ EJ TUB[JPOFNFOUP TPO QPTUJ USBTWFSTBMNFOUF SJTQFUUP BMMF HVJEF DIF QFSDPSSPOP MPOHJUVEJOBMNFOUF M FEJmDJP -B DPQFSUVSB B DBQSJBUF JO DFNFOUP USB MF RVBMJ FSBOP TUBUJ JOTFSJUJ EVF MVDFSOBSJ Ò B CPUUF F SJTVMUB FTTFSF NBTDIFSBUB EB EVF GSPOUPOJ USJBOHPMBSJ DPO USF BQFSUVSF WFUSBUF EJ DVJ MB DFOUSBMF Ò BE BSDP - FEJmDJP d Ò TUBUP TVDDFTTJWBNFOUF BOOFTTP B RVFTU VMUJNP F DPTUSVJUP DPO DBSBUUFSJTUJDIF UJQPMPHJDIF EJGGFSFOUJ DPO M JOUFOUP EJ BNQMJBSF MF PGmDJOF EJ BMDVOJ SFQBSUP FE JNQJBOUJ BDDFTTPSJ -B TUSVUUVSB B EVF QJBOJ F MB EJTQPTJ[JPOF EJ QJá MPDBMJ QFSNFUUPOP VOB mOFTUSBUVSB QJá TFSSBUB F SFHPMBSF %B TFHOBMBSF Ò MB QFOTJMJOB QPTUB BMM JOHSFTTP DPTUJUVJUB EB VOB TUSVUUVSB JO QJMBTUSJ EJ DFNFOUP BSNBUP F DPQFSUVSB QJBOB DPO VO PSJHJOBMF GPSNB B RVBSUP EJ DJSDPOGFSFO[B - FEJmDJP b JO QBSUF SJTUSVUUVSBUP Ò TFEF EJ VGmDJ BNNJOJTUSBUJWJ 1SFTFOUB BMM BOHPMP USB MF WJF 5FPEPTJP F $BTPSFUUP VO HSBOEJPTJ BOESPOF EJ BDDFTTP QFS MF WFUUVSF DPO EVF QPSUJOFSJF "J EVF QJBOJ FEJmDBUJ PSJHJOBSJBNFOUF OF WFOOF BHHJVOUP JO FQPDB TVDDFTTJWB VO BMUSP TUSBWPMHFOEP BODIF M JNQJBOUP DPNQPTJUJWP *M GSPOUPOF WFOOF FMJNJOBUP F TF JO QSFDFEFO[B MF MFTFOF DPQSJWBOP UVUUB M BMUF[[B EFMM FEJmDJP PSB TPOP QSFTFOUJ TPMP BM QJBOP UFSSB * SFTUBOUJ FEJmDJ a F c DPTUJUVJTDPOP J NBHB[[JOJ F MF PGmDJOF QFS MB QJDDPMB NBOVUFO[JPOF F QFS J MBWPSJ EJ NFDDBOJDB WBSJB 2VFTUJ FSBOP JO PSJHJOF BE VO VOJDP QJBOP DBSBUUFSJ[[BUJ EB VO JOmMBUB EJ BNCJFOUJ DIF DPTUJUVJWBOP VOB QJBOUB MVOHB F TUSFUUB DPTÖ TJ QSFTFOUBOP BODPSB JO CVPOP TUBUP EJ DPOTFSWB[JPOF 70

D.11

STATO DI FATTO alta flessibilità

a b c d e

EJT D B

JnFTTJCJMJUÃ&#x2039; EJ SJVTP

JOUFSFTTF BSDIJUFUUPOJDP

JOUFSFTTF EPDVNFOUBSJP

QSFTFO[B EJ DBSBUUFSJ PSJHJOBSJ

TUBUP EJ DPOTFSWB[JPOF

mOJUVSF NVSBUVSF QFSJNFUSBMJ

UFUUP

NBUFSJBMJ TUSVUUVSF WFSUJDBMJ

UJQP TUSVUUVSF WFSUJDBMJ

BMUF[[B FEJmDJP

OVNFSP QJBOJ GVPSJ UFSSB

c

a

e d

b

JOU med UPU CBT bas med

EJT D B QJB JOU med QBS BMUP med med

EJT D B QJB JOU med QBS CBT bas med

EJT D B CBT JOU med UPU BMUP BMUP BMUP

EJT D B CBT JOU med UPU NFE BMUP BMUP

71

INQUADRAMENTO GENERALE _CODICE RILIEVO 194 *M EFQPTJUP TVHMJ BVUPNF[[J EFMM "5.

IB M JOHSFTTP QSJODJQBMF TV WJB 7FSPOB "MM BUUJWJUÃ&#x2039; JOJ[JBMF EJ SJNFTTB EFJ WFJDPMJ B NPUPSF TJ Ã&#x2019; BGmBODBUB TVDDFTTJWBNFOUF RVFMMB EJ PGmDJOB QFS MB NBOVUFO[JPOF EJ QJDDPMJ HVBTUJ FE JM DPOUSPMMP QFSJPEJDP EFJ NPUPSJ - BDDFTTP BMM BSFB Ã&#x2019; DPOTFOUJUP TPMP DPO QFSNFTTP

D.12

SALMINI

72

FQPDB

BUUJWJUÃ&#x2039; PSJHJOBMF TFSWJ[J EFQPTJUP "5.

*/%*3*;;0 461&3'*$*& $01&35" .2

.&;;* %&104*5"5*

7*" 7&30/"

/*3&4*%&/5* %&/4*5"h "#*5"5*7"

1035" 30."/" BC BC

$*55"h %*63/" $*55"h /05563/"

BC BC

/*- .&%*" .*-"/0 "#*5";*0/& 6''*$*0 $0..&3$*0 */%6453*" 4&37*;* 130%655*7* "-530 "#*5";*0/* */ "''*550

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VOJUÃ&#x2039; MPDBMJ

%*4.&440

QSPQSJFUÃ&#x2039; QVCCMJDB

UJQPMPHJB QPS[JPOF EJ JTPMBUP

BDDFTTJCJMJUÃ&#x2039; BMUB

JOUFSFTTF JOGSBTUSVUUVSB

TFHOBMB[JPOJ EPQQJP BDDFTTP EFDPSB[JPOJ

73

- BSFB DPNQSFOEF EJWFSTJ GBCCSJDBUJ - FEJmDJ c EFTUJOBUP B EFQPTJUP BE VO TPMP QJBOP Ò VO DPSQP BEEPTTBUP BM NVSP EJ DJOUB F TJ USPWB EJ GSPOUF BMM JOHSFTTP DBSSBJP *M DPSQP d BODI FTTP BE VO QJBOP Ò QPTUP B EFTUSB EFMM JOHSFTTP FE Ò BEJCJUP B QPSUJOFSJB F BJ TFSWJ[J WBSJ *M DPSQP a TJ BGGBDDJB TV 7JB 7FSPOB F WJB 4BMNJOJ DPO M JOHSFTTP QSJODJQBMF QPTUP TVMM BOHPMP TNVTTBUP BMM JODSPDJP EFMMF EVF WJF -B DPTUSV[JPOF EJ TWJMVQQB TV EVF QJBOJ EJ DVJ RVFMMP UFSSFOP Ò BEJCJUP B SJNFTTB FE PGmDJOB QFS HMJ BVUPNF[[J *M EPQQJP JOHSFTTP VOP QJá HSBOEF JO DPSSJTQPOEFO[B EFMMB UFUUPJB F M BMUSP QJá QJDDPMP WJDJOP BM DPSQP b GBDJMJUB MF NBOPWSF EFJ NF[[J - JOUFSOP QSFTFOUB BNQJ TQB[J DPO VOB TUSVUUVSB QPSUBOUF NJTUB TPOP WJTJCJMJ QJMBTUSJ JO DFNFOUP BSNBUP QJMBTUSJ JO HIJTB PQQVSF JO GFSSP B TUSVUUVSF SFUJDPMBSF * MPDBMJ JOUFSOJ DPOP EJTUJOUJ JO SJNFTTB F JO PGmDJOB EPWF TPOP QPTUF MF GPTTF QFS M JTQF[JPOF EFJ WFJDPMJ OFMMB QBSUF JOGFSJPSF

basso interesse architettonico problemi agibilità

D.12

STATO DI FATTO

74

a b c d

JnFTTJCJMJUÃ&#x2039; EJ SJVTP

JOUFSFTTF BSDIJUFUUPOJDP

JOUFSFTTF EPDVNFOUBSJP

QSFTFO[B EJ DBSBUUFSJ PSJHJOBSJ

TUBUP EJ DPOTFSWB[JPOF

mOJUVSF NVSBUVSF QFSJNFUSBMJ

UFUUP

NBUFSJBMJ TUSVUUVSF WFSUJDBMJ

UJQP TUSVUUVSF WFSUJDBMJ

BMUF[[B FEJmDJP

OVNFSP QJBOJ GVPSJ UFSSB

a c b

d

EJT

EJT D B QJB JOU med QBS CBT bas bas

EJT D B GBM

EJT D B DBQ JOU med QBS CBT bas bas

D B GF DBQ JOU med UPU NFE med med

JOU med QBS CBT bas bas

75

76

CONTEXT

i

6

COMPARISON

77

JnFTTJCJMJUË EJ SJVTP

JOUFSFTTF BSDIJUFUUPOJDP

TUBUP EJ DPOTFSWB[JPOF

UJQP TUSVUUVSF WFSUJDBMJ 'PS[F "SNBUF

-FPODBWBMMP

.FTTJOB

-FPODBWBMMP

.FTTJOB

.PMJTF

5JDJOFTF

5JDJOFTF

5FPEPTJP

5FPEPTJP

4BMNJOJ 78

4BMNJOJ

INCROCIO DATI

MATCH

79

DPSSJTQPOEPOP NBHHJPNFOUF BMMF OFDFTTJUË EJ SJVUJMJ[[P

04

D

D.02

D.07

EFQPTJUJ "5. TDFMUJ EFQPTJUJ "5.

BTTPDJB[JPOJ HJPWBOJMJ TQB[J DPNVOBMJ

DFOUSJ TPDJBMJ NVTFJ UFBUSJ PGmDJOF DSFBUJWF EJTUSFUUJ DSFBUJWJ VOJWFSTJUË 80

D.12

D.11

RINSERIMENTO

MAPPA “ATTRATTORI”

81

h 00.14'

D.04 13' FABBRICA VAPORE

13'

m

h 00.

h 00.16' 7,4 Km

D.02

6,8 K

Km

.18' h 00 Km 6,5

6,2

Km

12 km ' .22 h 00

THE HUB

9,4

0. h0

D.11

6,1 Km

6 Km

h 00.

14'

D.07 SPAZIO FORMA

ART KITCHEN

82

2,2 Km D.12 h 00.7'

CASCINA CUCCAGNA

EFQPTJUJ "5. TDFMUJ EFQPTJUJ "5.

PGmDJOF DSFBUJWF PGmDJOF DSFBUJWF JOUSFTTBUF EJTUSFUUJ DSFBUJWJ

S N EJTUBO[B ,N

UFNQP NJO

DEPOSITI SCELTI

RETE D’INFLUENZA

LEONCAVALLO o Teodosio

MESSINA

FORZE ARMATE

TICINESE

SALMINI

83

BIBLIOGRAFIA

E SITI DI RIFERIMENTO

84

%&;;* #"3%&4$)* %FQPTJUJ F PGmDJOF "5. B .*MBOP SJTDPQFSUB EJ VO TJTUFNB VSCBOP EJNFOUJDBUP #BSDFMMB " $PNJOJ " %F[[J #BSEFTDIJ . 'FSMB[[P " $ (*07"//* $03/0-ยพ (*64&11& 4&7&3* 5SBN F USBNWJF B .JMBOP .JMBOP "[JFOEB 5SBTQPSUJ .VOJDJQBMJ QQ o '3"/$&4$0 0(-*"3* .JMBOP JO USBN 4UPSJB EFM USBTQPSUP QVCCMJDP NJMBOFTF )PFQMJ &EJUPSF *4#/ i*M TFSWJ[JP PGmDJOB F EFQPTJUJ USBNWJBSJ 6SCBOP FE OUFSVSCBOP EFMM "UNw "5. .JMBOP i/PWBSB MB QJรก NPEFSOB BVUPmMPWJBSJBw .JMBOP

SJNFTTB

i*O USBN 4UPSJB F NJUJ EFJ USBTQPSUJ QVCCMJDJ NJMBOFTJw .JMBOP &MFDUB

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85

Politecnico di Milano Architettura e Società Ilaria Bollati matr. 735958 Gennaro Postiglione relatore

the hub SPOKES

°ATTACHMENT 04

the HUB

the hub

CENTER OF SOCIAL INNOVATION_ TORONTO PERSONE, LUOGHI, IDEE

1

SOMMARIO THE HUB SPOKES _ attachment 4

STUDENTE

Ilaria Bollati 735958

RELATORE

Gennaro Postiglione

FACOLTA’

Architettura e Società _ Politecnico di Milano 2

05 | 01 “WE’RE PART OF A COMMUNITY THAT’S BUILDING THE SPACES WHERE CHANGE HAPPENS.” Tonya surman on the emerging shared spaces sector

11 | 02 “IF YOU’RE IN, I’M IN ...”

“WELL IF YOU’RE IN, I’M IN!” Tonya surman and margie zeidler making a pact

13 | 03 THEORIES AND MISSIONS ARE GREAT, BUT IT’S THE BUSINESS MODEL THAT DETERMINES VIABILITY...

17 | 04 A GREAT COMMUNITY WORKSPACE REQUIRES THOUGHTFUL CONSIDERATION AT EVERY TURN 27 | 05 SHARED SERVICES ARE THE BASIC INGREDIENTS OF A COLLABORATIVE WORKSPACE. 33 | 06 WE TURN A SHARED WORKSPACE INTO A COMMUNITY SPACE BY INSPIRING AND CONNECTING MEMBERS 40 | BIBLIOGRAFIA

3

4

CONTEXT

1

“WE’RE PART OF A COMMUNITY

THAT’S BUILDING THE SPACES WHERE CHANGE HAPPENS.”

Tonya surman on the emerging shared spaces sector

5

STRATEGIE FOR - PROFIT E NO - PROFIT SONO UNITE INSIEME. Spazi condivisi - e spesso i loro membri ne sono esempio concreto.

mettere nella stessa scatola WHY ARE SHARED

RESCENTE CONSAPEOLEZZA CHE I PROBLEMI SONO MOLTO PIù COMPLESSI SE AFFIDATI AL SINGOLO. Spazi condivisi connettono differenti organizzazioni e individui, offrendo possibilità di collaborazione, condivisione di conoscenze, e soluzioni sistematiche.

6

AUMENTANO GLI INCENTIVI. AUMENTANO LE DOMANDE SIA DA ASSOCIAZIONI CHE DA SINGOLI. -F PSHBOJ[[B[JPOJ OP QSPmU TVCJTDPOP continui tagli nei bilanci amministrativi, pur affrontando le crescenti esigenze della comunità.

SEMPRE PIÙ DIFFICLE PER I SINGOLI O PICCOLI GRUPPI TROVARE SPAZI A PREZZI ACCESSIBILI

NO RESTRIZIONI DI QUALSIASI SPAZIO FISICO. SPIARE E ORIGLIARE LE IDEE DEGLI ALTRI

persone diverse SPACES EMERGING?

DAGLI ANNI ‘90 SI AVVERTE LA TENDENZA AL “LAVORO VIRTUALE” A CUI SI OPPONE L’ESIGENZA E SOPRATUTTO L’IMPORTANZA DI UNO SPAZIO

7

INNOVATION Visione del problema sotto una nuova luce.

ComunitĂ costituita da molteplici punti di vista differenti, in grado di apportare un DPOUSJCVUP TQFDJmDP F EJGGFSFO[JBUP BMMB medesima domanda.

COMUNITY Persone collocate in uno spazio confortevole.

Felici di trascorrere del tempo in esso, strigono tra loro relazioni.

THEORY OF CHANGE

A THREE-â&#x20AC;?PRONGED MOVEMENT SPACE _ BASE PIRAMIDE Fondamentale.

-P TQB[JP mTJDP EPWF BDDBEF PHOJ DPTB

8

CONTEXT

The Hub_  istituisce  un  programma  di  condivisione  fra  i  membri  e  offre  un  aiuto  al  progetto  con  consigli  strategici INCUBATION Progetto sociale di breve durata.

CONTEXT

The Hub si configura come ibrido delle 3 direzioni analizzate

i

CO-WORKING _ the hub Rivolto ai singoli â&#x20AC;&#x153;indipendentiâ&#x20AC;?.

Nasce nel settore Tech e Design.

PiĂš informale e a scala piĂš ridottaCONTEXT rispetto a Co-location

The Hub_  fornisce  spazi  semi-â&#x20AC;?permanenti  in  affitto  per  associazioni

i

CO-LOCATION Condivisione dello spazio piĂš o meno permanente tra diverse organizzazioni.

In tale divisione si ritrovanospesso PSHBOJ[[B[JPOJ OP QSmU DPO TJOHPMF funzioni.

Le singole organizzazioni suddividendosi lo spazio riescono ad affrontare costi ridotti e migliorano la missione/obiettivo da perseguire.

9

S 5

< [

D

]

SOCIAL CHANGE LENS FInalizzato a sostenere e promuovere lâ&#x20AC;&#x2122;innovazione sociale. Tutti i membri sono selezionati in base al loro impegno verso questo obiettivo, e ogni programmazione Ă&#x2019; mOBMJ[[BUB BE BVNFOUBSF MF DBQBDJUĂ&#x2039; EJ JNQSFTF TPDJBMJ PSHBOJ[[B[JPOJ OPO QSPmU FOUJ EJ CFOFmDFO[B JNQSFTF WFSEJ BSUJTUJ designer, creatori.

FOCUS ON SMALL Si concentra su gruppi con personale costituito da nn piĂš di cinque membri.

La stragrande maggioranza dei nostri soci conta una o due persone.

Sono questi piccoli gruppi che si trovano nel maggior bisogno di condivisione: guadagnano agevolazioni a livello amministrativo e sono piĂš predisposti alla collaborazione.

PHYSICAL DESIGN

Ingrediente chiave.

"QQSPDDJP NPMUP TQFDJmDP QSPHFUUB[JPOF mTJDB

A

QFS

MB

HYBRID OF THESE MOVEMENTS

*

10

ANIMATION AS PRACTICE

ciò che trasforma â&#x20AC;&#x153;un posto di lavoroâ&#x20AC;? per uno spazio di innovazione sociale.

CONTEXT

2

“IF YOU’RE IN, I’M IN ...”

“WELL IF YOU’RE IN, I’M IN!” Tonya surman and margie zeidler making a pact

11

Tonya (whose enthusiasm has aba

years) likes to refer to Margie as CS

of the whole operation, as it were. H

tributions were, simply, what made with her character, Margie speaks

than others do about it: â&#x20AC;&#x153;we gave t

modestly, â&#x20AC;&#x153;it wasnâ&#x20AC;&#x2122;t half of other p

lower â&#x20AC;&#x201D; but we didnâ&#x20AC;&#x2122;t require that had members.â&#x20AC;?

CSI was created on a cost-recovery

ing to which there would be eno cover operating expenses. Thus,

was getting started in the first pla

CSI would otherwise have faced:

members who are very nebulous â&#x20AC;&#x201D;

there are multiple members; they have three years worth of financial Why then was Margie so eager to

of considered myself the member,

co-created, because it was someth

Urbanspace Property Group under and the start-up for CSI tenancy,

48

SOCIAL INNOVATION

CSI è stato creato su un modello di recupero dei costi, cioè, su un piano-conto cui non ci sarebbe abbastanza entrate da canoni di locazione per coprire le spese di funzionamento. $PTĂ&#x2013; MB TmEB QSJODJQBMF mOBO[JBSJB Ă&#x2019; TUBUB di cominciare in primo luogo.

Urbanspace Property Group ha sottoscritto il build-out dello spazio e lo start-up per la locazione CSI, incluso il supporto parziale dello stipendio 48 del direttore esecutivo e mezzo lo stipendio di un tor-amministrative per il primo anno, cosĂŹ come un interesse -di prestito gratuito di $ 52.000 - Un investimento 12

SOCIAL CHANGE LENS

iniziale di un totale di oltre 250.000 dollari.

Tonya, nel frattempo mettere in secchi di equitĂ sudore: ha portato la sua prassi di successo di consulenza e le sue entrate nel Centro, e ha continuato a prendere JO BUUJWJUĂ&#x2039; EJ DPOTVMFO[B mOP BM RVBSUP anno di CSI di funzionamento essenziali per il funzionamento dellâ&#x20AC;&#x2122;Osservatorio mOBO[JBSJBNFOUF &OUSBNCJ TPOP TUBUJ agganciati su lâ&#x20AC;&#x2122;idea di quello che potrebbe essere possibile.

CONTEXT

3

THEORIES AND MISSIONS ARE GREAT, BUT IT’S THE BUSINESS MODEL THAT DETERMINES VIABILITY...

13

UTILITY VS WHIMSICAL Lo spazio deve essere innanzitutto funzionale per i soci.

2VFTUP TJHOJmDB NBOUFOFSF TQB[J puliti e garantire il comfort lavorativo (fotocopiatrici, stampanti, internet, ecc).

Sviluppo inoltre della componente ludica BM mOF EJ BMMFHHFSJSF JM MBWPSP JOUFSWFOUJ DIF danno vita e leggerezza allo spazio, come le pareti dei messaggi, foto di membri, i QSPmMJ EFJ NFNCSJ P BODIF HJPDIJ EB tavolo e blocchi costruttivi!

ADD A LAYER OF SHARED SERVICES

SUBLET TO INDIVIDUALS & ORGANIZATIONS

RENT SPACE FROM LANDLORD

A WORKSPACE OPTIONS

THE THIRD PARTY OPERATOR

14

HOT DESKS Massimo 6 mesi.

Diinamismo spaziale.

Temporanee e distribuite nelle zone adibite a coworking.

OFFICE SPACE Almeno 12 mesi.

6GmDJ BGmEBUJ BE BTTPDJB[JPOJ TPMJUBNFOUF OP QSPmU .BHHJPS TUBCJMJUĂ&#x2039; F SJHJEJUĂ&#x2039; rispetto allle permanent desks.

PERMANENT DESKS Via di mezzo tra i primi due.

Almeno 12 mesi.

15

LOCATION

#1

Uno dei fattori piĂš importanti implica a sua volta diversi parametri: t t t t t

accessibilitĂ vicinanza centro cittĂ TFSWJ[J MJNJUSPm QSPGFTTJPOBMJ copisterie, ristoranti..) disponibilitĂ di parcheggio sicurezza

adaptive riuse EDIFICIO tiene conto: t t t

#2

presenza e quantitĂ di luce naturale carattere architettonico e caratteristiche estetiche TUPSJB F TQJSJUP EFMM FEJmDJP TUFTTP

A SITE SPECIFIC ADAPTIVE RIUSE

16

CONTEXT

4

A GREAT COMMUNITY WORKSPACE REQUIRES THOUGHTFUL CONSIDERATION AT EVERY TURN.

17

t Considerare la progettazione degli spazi di incontro per la COMUNITĂ&#x20AC; ESTERNA, come per i membri; i visitatori avranno bisogno di stanze di differenti dimensioni, incluso un buon spazio adibito a workshop

t Utilizzare

MOBILI COMPONIBILI:

QFSNFUUFSF BMMF QFSTPOF EJ DPOmHVSBSF F SJDP mHVSB MB TBMB QFS TFSWJSF J TDPQJ diversi, da lezioni di yoga a riunioni, a seminari.

FLESSIBILITĂ&#x20AC;: tutte le organizzazioni cambiano dimensione nel tempo. t destinare alla

t AREE DI SERVIZIO per la stampa, fax e copia.

Assicurarsi che le persone possono lavorare facilmente in quegli spazi

t RI-UTILIZZARE I MATERIALI per quanto possibile. Eâ&#x20AC;&#x2122; sicuramente meno dispendioso, e stimola maggior interesse e cura da parte dei membri

TIPS FOR A FUNCTIONAL SPACE t ATTENZIONE al design di alta gamma .

Mantenere i costi di sostituzione in mente quando fare acquisti.

t NON tentare di fare

TUTTO IN UNA

VOLTA .

Le esigenze del vostro spazio e dei vostri membri diventeranno piĂš chiaro nel tempo 18

ES

Ho

KS

es tD ks %

Workspace

Workspace

by Income

DES

Offices OFFICE

%

sks DeS

59%

18

23

K

THE HUB _ VIENNA

This chart illustrates a key characteristic of the model: Hot Desks generate six times more income relative to their footprint.

Remember that youâ&#x20AC;&#x2122;ll have multiple members cycling through the same spaces; in our case, we have 100 members in 20 workstations. As a result, the most profitable workspaces are those that focus on Hot Desks. But Hot Desks require heavier administration and ongoing recruitment. Think carefully about your approach - the layout of the space should flow from your vision.

THE HUB _ AMSTERDAM

ture. Hot room to

HO TD

19

TIPS FOR MEETING SPACES t

Un buon spazio condiviso si servirà di un numero di sale riunioni sale riunioni TVGmDJFOUF SJTQFUUP BMMB RVBOUJUË EJ membri

t

dimensioni variabili: diverse sale di piccole o medie dimensioni, e almeno una sala più grande per workshop

t

dotate di lavagne a fogli mobili o classiche per lo sviluppo dell’idea.

t

possibilmente in prossimità di aree accessibili al pubblico e lontano dagli VGmDJ

t

Vicinanza a una cucina per eventuali eventi

THE HUB _ HELSINKI

20

SALE RIUNIONI

Ogni organizzazione organizza riunioni, almeno occasionalmente.

Lo spazio dovrebbe così offrire una varietà EJ TBMF SJVOJPOJ EBUF EJWFSTF mOBMJUË EBJ laboratori alle interviste.

"GmUUBSF TQB[J EJ RVFTUB OBUVSB BE VO pubblico esterno serve alcuni obiettivi fondamentali: t

t

generare ENTRATE all’organizzazione

UTILI

contribuisce a TRASFORMARE lo spazio in una risorsa per la comunità e condivisione di conoscenze

Assicurandosi però di non interferire con l’attività dei soci, che devono poter lavorare o utilizzare anch’essi gli spazi.

THE HUB _ CAPE TOWN

21

THE HUB _ MADRID

ALCUNI INTERVENTI E DECISIONI PROGETTUALI NON VENGONO IMMEDIATAMENTE METABOLIZZATI. Le persone tendevano ad oscurarle per creare dei propri spazi secondo la prassi comune.

Sempre con lâ&#x20AC;&#x2122;intento di aumentare il senso di condivisione e scambio, ogni VGmDJP QSJNB EJ QBTTBSF WFSTP MP TQB[JP comune si organizza in un salotto con tavoli sedie, e divani in vista dello spazio comune. Fusione tra spazio personale e professionale.

CORRIDOI VETRATI

22

Eâ&#x20AC;&#x2122; stato provato che le persona lavorano meglio se sono sempre informate su ciò che accade intorno e sono viste al tempo stesso. â&#x20AC;&#x153;occhi sul corridoioâ&#x20AC;? slogan simile agli â&#x20AC;&#x153;occhi sulla stradaâ&#x20AC;? di Jacobs.

Il miglior funzionamento è decretato dalle QBSUJ JO DPNVOF EFMM FEJmDJP Il modo per ottenere tale apertura è la luce.

In Germania vige la regola che â&#x20AC;&#x153;non si può mettere un lavoratore piĂš di cinque metri di distanza da una sorgente luminosa naturaleâ&#x20AC;?.

Le persone non dovrebbero stare dove non possono godere di luce naturale.

THE HUB _ OPORTO

TUTTI GLI UFFICI SONO PERIMETRALI. Si migliora cosĂŹ la circolazione dellâ&#x20AC;&#x2122;aria e la climatizzazione degli ambienti.

-F WFUSBUF OPO BSSJWBOP BM TPGmUUP QFS lasciare un interstizio che permetta la diffusione acustica.

Come non si può far a meno di ascoltare il vicino anche noi veniamo ascoltati dal vicino stesso.

Questo non per tradire la privacy (esistono cabine per chiamate private ad esempio) ma per rafforzare lâ&#x20AC;&#x2122;idea di comunitĂ .

23

LA SICUREZZA DELLO CONDIVISO È ESSENZIALE. t

fornire una certa separazione tra le BSFF DPNVOJ QJá USBGmDBUF F MF BSFF EJ lavoro

t

collocare la zona Hot Desk nei pressi di una uscita come strategia per SJEVSSF BM NJOJNP JM nVTTP EFJ NFNCSJ più transitori

t

costituire una comunità vigilando e tenendo d’occhio anche le cose altrui

THE HUB _ ROVERETO

24

SPAZIO

SICUREZZA

t

Uno spazio condiviso

NON È UNA BIBLIOTECA t

Limitare l’uso di altoparlanti-telefoni

t

Dividere lo spazio in modo tale che gli

ELEMENTI PIÙ RUMOROSI SIANO RAGGRUPPATI INSIEME: le hot desk devono essere autonome e non mischiate alle postazioni permanenti t

THE HUB _ ROVERETO

Creare cabine telefoniche per i membri che lavorano in spazi aperti in modo da avere una comoda opzione per le chiamate personali o lunghe.

GESTIONE RUMORE

25

THE HUB _ MADRID

26

CONTEXT

5 SHARED SERVICES ARE THE BASIC INGREDIENTS OF A COLLABORATIVE WORKSPACE.

i

27

1/PHOTOCOPYING AND PRINTING

6/MEETING ROOMS

2/HIGH-SPEED INTERNET

7/COFFEE/TEA 8/SECURITY

3/FAX MACHINES

9/CLEANING

4/MAILBOXES

10/AUDIO-VISUAL EQUIPMENT

5/KITCHEN FACILITIES

)NTERNET

)NTERNET

TOCOPIER 0RINTERS

SERVIZI CONDIVISI

LIPCHARTS

-ACHINE

EBOARDS

E BOOTHS

0ROJECTOR

28 PHONES

completamente n disaccordo disaccordo neutrali favorevoli completamente favorevoli

6 & & 9 ) &

La fornitura di servizi condivisi è una delle ragioni principali per cui persone diverse si uniscono in uno spazio condiviso.

Vengono così facilitate soprattutto le piccole organizzazioni che si possono concentrare più facilmente sulle loro missioni usufruendo di servizi dati e amministrati da terzi.

FORMULA Il servizio condiviso permette di al membro di abbattere i costi e godere di una maggior agevolazione e comodità, alla società di ammortizzare i costi e creare un maggior senso di comunità.

(!2%$ 3%26)#%3

Wireless Internet 7IRELESS )NTERNET

QUALI ESSENZIALI?

Wired Internet 7IRED )NTERNET Photocopier 0HOTOCOPIER Printers 0RINTERS Flipcharts &LIPCHARTS Fax Machine &AX -ACHINE Whiteboards 7HITEBOARDS Phone booths 0HONE BOOTHS Projector 0ROJECTOR Speaker phones 3PEAKER PHONES Storage lockers 3TORAGE LOCKERS Nap room .AP ROOM VolP system 6O)0 SYSTEM Hot Desks Phone (OT $ESKS 0HONE DVD Player $6$ 0LAYER PA system 0! SYSTEM

29

La cucina_ comune la

tra i vari tipi di spazio in

RIVESTE UN RUOLO FONDAMENTALE. In linea con l’etica dell’ open-concept (alla CBTF TJB MP TQB[JP F MB mMPTPmB EFM $4*

la cucina non ha muri, e si fonde senza soluzione di continuità in un’accogliente zona divano.

Gli armadi sono provvisti di piatti e utensili,

THE HUB _ MLANO THE HUB _ PRAHA

30

la caffettiera è sempre attiva, e bidoni per il riciclaggio sono chiaramente etichettati.

IL MOMENTO DEL PRANZO, DEL CAFFÈ O APERITIVO È UN CHIARO MOMENTO DI AGGREGAZIONE TRA I MEMBRI. La cucina è uno degli spazi fondamentali così come lo è in una casa.

CUCINA

THE HUB _ BRUSSELS

31

THE HUB _ROVERETO

32

CONTEXT

6

WE TURN A SHARED WORKSPACE INTO A COMMUNITY SPACEiBY INSPIRING AND CONNECTING MEMBERS. 33

t MISSIONE SOCIALE:

i membri devono essere in grado di articolare come il loro lavoro possa rendere il mondo un posto migliore.

t VALORI CONDIVISI:

apertura mentale, rispetto, tolleranza, passione, soluzioni di messa a fuoco, ecc

t ASSETTO FISICO: ospitare gruppi di cinque o meno persone, e nessuna organizzazione può avere piÚ di due TQB[J VGmDJP

t INNOVAZIONE:

la priorità sarà data a quelle persone, progetti e organizzazioni la cui opera è nuova, creativa e promettente

mettere  nella  stessa  scatola  t PARTECIPAZIONE CULTURALE

MULTI-

t COMUNITĂ&#x20AC;

MENTALE: Membri devono capire - e ad abbracciare - il fatto che sono entrati in una comunitĂ

t DIVERSITĂ&#x20AC;: Il dosaggio complessivo EFWF SJnFUUFSF VOB EJWFSTJUĂ&#x2039; EJ missioni, forme giuridiche (noQSPmU QFS QSPmUUJ TFO[B QFSTPOBMJUĂ&#x2039; giuridica, ecc) e fasi di sviluppo, comprese le organizzazioni stabili ed emergenti

SELEZIONE MEMBRI

t COLLABORAZIONE: si cercano soci che hanno dimostrato di lavorare bene con gli altri

t ENERGIA:

imprenditori, animatori, connettori e altri che portano la loro energia con loro

t PRIORITĂ&#x20AC; NON PROFIT:

almeno i due terzi di tutti i desk permanenti F TQB[J VGmDJP TBSĂ&#x2039; SJTFSWBUP QFS MF organizzazioni senza scopo di lucro

34

persone con idee geniali per rendere il mondo migliore. persone che credono in un loro progetto e vorrebbero realizzarlo.

persone diverse SPACE + COMUNITY

=

INNOVATION

THE HUB _ SAO PAOLO

persone che vogliono essere imprenditori del proprio tempo, dei propri sogni e azioni.

35

MEMBER CAPACITY EXSPANDED CAPACITY

IMPACT

COLLABORATION

36

THE HUB _ TAMPERE

THE HUB _ BRUSSELS

L’obiettivo di animazione della comunità è di creare un

t

contribuisca ad un senso di comunità

AMBIENTE FISICO E SOCIALE

t

massimizzi le opportunità di sviluppo dell’idea, ex-change e la collaborazione

t

risolva i problemi e le unità di servizio al cliente

t t

che: sia caldo, accogliente e ospitale faciliti il lavoro dei singoli membri e li aiuti a scoprire il loro potenziale

37

Profit Profit Profit PEOPLE _ PROFIT _ PLACE

THE HUB _ SAO PAOLO

38

SAN FRANCISCO, OXACA, ATLANTA, TORONTO, HALIFAX, PORTO, MADRID, BRISTOL, LONDON, BRUSSELS, BERGEN, ROTTERDAM, AMSTERDAM, MILANO, VIENNA, PRAGUE, BERLIN, STOCKHOLM, TAMPERE, HELSINKI, RIGA, CAIRO, TEL AVIV, CAPETOWN, JOHANNESBURG, BOMBAY, SAO PAOLO

39

BIBLIOGRAFIA

E SITI DI RIFERIMENTO

40

MEGLIOMILANO I bisogni di accoglienza degli studenti universitari a Milano, rapporto Studiare e vivere a Milano, 2003 MEGLIOMILANO L’impatto delle Università milanesi sull’economia locale, rapporto Studiare e vivere a Milano, 2005

SITI INTERNET: http://the-hub.net/ http://milan.the-hub.net/public/ http://socialinnovation.ca/

Colloqui in loco con Nicolò Borghi _ The Hub Milano

41

°ATTACHMENT 05

Politecnico di Milano Architettura e Società Ilaria Bollati matr. 735958 Gennaro Postiglione relatore

the hub SPOKES

WS _ viaggio nella città

ws

NOEMI SATTA

CASCINA CUCCAGNA MILANO NARR-AZIONI, DIVAG-AZIONI, ESTERN-AZIONI. WORKSHOP CREATIVO PER LA GENERAZIONE DI IDEE.

1

SOMMARIO THE HUB SPOKES _ attachment 5

STUDENTE

Ilaria Bollati 735958

RELATORE

Gennaro Postiglione

FACOLTA’

Architettura e Società _ Politecnico di Milano 2

05 | 01 PERCHE’ IL WORKSHOP? viaggio nella città

07 | 02 METODOLOGIA 11 | 03 START 19 | 04 NOTE A MARGINE 23 | 05 NEXT STOP 27 | 06 VOCAZIONI DEL TERRITORIO 30 | BIBLIOGRAFIA

3

Noemi Satta è consulente di marketing per i musei e per i territori.

Intreccia a queste attività quella delle metodologie di sviluppo partecipativo per coinvolgere la cittadinanza e stimolarne la progettualità o la responsabilizzazione sulle scelte per il proprio territorio Struttura e facilita workshop di intervento territoriale, di analisi culturale, di esplorazione del territorio, di progettazione strategica e di arte pubblica.

Il workshop è un modulo operativo a metà tra la consulenza, la formazione e la facilitazione di gruppo, che permette un apprendimento dato dal learning by doing.

4

CONTEXT

i

1

PERCHE’ IL WORKSHOP? VIAGGIO NELLA CITTA’

5

Si tratta di un Workshop tenutosi tra il 13 e 14 giugno 2009 a Milano.

Nasce con lo tentativo di attivare un brain storming.

Unâ&#x20AC;&#x2122;immersione nel territorio della Cascina Cuccagna, con lâ&#x20AC;&#x2122;obiettivo di individuare temi, valori, caratteristiche, curiositĂ , impressioni su Milano.

Si genere per cui con motivazioni differenti rispetto a quelle prese in esame nel processo logico di questa tesi.

Nonostante ciò, costituisce un analisi preziosa nel capire quali attività è possibile associare a quelle proposte da The Hub e che sinergie possano crearsi con le precedenti.

Si struttura come viaggio urbano, unâ&#x20AC;&#x2122;esplorazione.

Unâ&#x20AC;&#x2122;intenso weekend di discorsi, colori, passi, sguardi, parole, cibi, ascolti.

MAPPARE

6

Riprendono la procedura utilizzata solitamente da Noemi satta nel sviluppare il processo di analisi e valorizzazione. t .BQQBSF JM UFSSJUPSJP F MF TVF risorse culturali (in senso largo) materiali e immateriali, monumentali e minime: fare VOB DBSUPHSBmB DVMUVSBMF t 5FNBUJ[[BSF JM UFSSJUPSJP BWFSF dei temi, delle parole o delle impressioni chiave, per sciogliere il nodo delle identitĂ territoriali (tante e sovrapposte e in trasformazione) t *OEJWJEVBSF MF WPDB[JPOJ del territorio: raccogliere e â&#x20AC;&#x153;vocareâ&#x20AC;?, individuandone il senso, lâ&#x20AC;&#x2122;identitĂ , la missione, attivitĂ .

OBIETTIVI E FASI STABILITE TEMATIZZARE

INDIVIDUARE

CONTEXT

i

2

METODOLOGIA

7

t (PRE)VISIONI. CARTOLINE â&#x20AC;&#x153;SALUTI DA MILANOâ&#x20AC;?

4J JOJ[JB B SJnFUUFSF F B DPOEJWJEFSF J QSPQSJ stereotipi e pregiudizi su Milano.

t CON LE CARTE (ISAO HOSOE).

CUCCAGNA STORMING. Rielaborazione di Play 40 di Isao Hosoe per poter permettere ai partecipanti di costruire nuove immagini, nuove EFmOJ[JPOJ Cosa ti sorprende? Cosa è cultura (a Milano e non solo)?

t DEFINIRE IL PROPRIO TRAGITTO Durante la fase di mapping i partecipanti hanno deciso gli itinerari da percorrere per esplorare il territorio.

PROFILI GENERALI DECENTRAMENTO

t DISTILLATI E SINTESI

8

STERN-‐AZIONI. E I, N IO Z -‐A G A IV D I, NA RR-‐AZION . generazione di idee

CARTOLINE

9

10

CONTEXT

2

i START

11

CARTOLINE

Trovare  il  proprio  filo,  o  la  propria  dimensione,  in  un  groviglio  un  caotico  di  persone  e  cose

(PRE)VISIONI CARTOLINE "SALUTI DA MILANO" Il lavoro è partito da alcune frasi segnate su cartolinette quadrate.

Le frasi (non viene svelato subito) sono tratte e liberamente rielaborate (in modo che siano aperte e che lascino possibilitĂ di ricerca) da una serie di interviste fatte a persone che lavorano nel progetto della Cuccagna da tempo. In questa fase servono solo per fare delle associazioni di 12

pensiero e formare dei gruppi.

4J JOJ[JB B SJnFUUFSF F B DPOEJWJEFSF J QSPQSJ stereotipi e pregiudizi su Milano. Verranno poi scritti e attaccati su un cartellone, e JOmOF QSFTFOUBUJ BM HSVQQP JOUFSP Trascrizione non organizzata (per lasciare ancora aperto il discorso) dei diversi post it e le diverse idee.

t t t t t t t

(Ri)scoprire microcosmi (comunità perdute) Fugacità Potenziale umano Sublimarsi nello shopping La panacea ai mali del vivere in città Duomo Milano è il Duomo, il suo simbolo, il centro del centro

t MANCANZA DI SPAZI LIBERI t t t

t

4PGGPDBUJ EB FEJmDJ DIF DJ TPWSBTUBOP senza spazio per noi Verde metropolitana Italia non Italia? Pur avendo tante caratteristiche dell’Italia (in positivo e in negativo) Milano è la meno italiana delle città, o almeno cerca di avere uno sguardo proiettato verso il mondo Bellezza

t MILANO CATINO t

t t t

(sei sempre dentro. Come astrarsi e guardarla da lontano?)

Ritorna all’isola con molti racconti. Un esempio di un lavoro fatto a Milano, nel quartiere isola, un’immagine composita, per dire che cos’è Milano Grandeur: tutto è grande, bello, importante, a Milano Consumo Passaggio

t CONTRASTO t t

Sicurezza di sé A Milano tutti sembrano più sicuri di sé, chissà perché?

t STRATIFICAZIONE. I tanti strati di cui è fatta una città come milano

t FLUSSI E RICIRCOLO DI CORRENTI t

t

t

scambi o persone che vanno e che vengono Milano trolley: Il trolley è dappertutto, agli aperitivi, al lavoro… simbolo di una città da cui si scappa nei weekend, in cui si è sempre in movimento Mancanza di stupore. Vivere in questa città a volte fa perdere lo sguardo stupito verso le cose…

Eventi apparire e innovare. Ovunque e sempre ci sono eventi a Milano. Da una parte un modo per apparire, ma qualche volta portano un tentativo di innovazione

t STAZIONE. La stazione è il simbolo di Milano: caotica, frenetica, punto di arrivo, partenza e scambio

t ACCUMULO t MILANO AGENDA.

Tutto viene segnato in agenda: persino un banale appuntamento con un amico. Quante volte alla richiesta di vederci ci è stato risposto: “Ok ti metto in agenda” o “Devo controllare l’agenda”?

13

COSA TI SORPRENDE? COSA È CULTURA (a Milano e non solo)?

PLAY 40

CON LE CARTE

PLAY 40 DI ISAO HOSOE

14

Nasce da unâ&#x20AC;&#x2122;elaborazione di Play 40 di Isao Hosoe. Play 40 è un gioco di creativitĂ per stimolare fasi di brain storming, da applicare in qualunque situazione, ma con esempi, nelle istruzioni del gioco, legate soprattutto al design di oggetti. E il design di concetti?

Serviva avere un momento per fare un passaggio in avanti, e che fosse del tutto libero o liberato dalle strettoie del giĂ saputo o immaginato su Milano.

Immaginare di nuovo qualcosa per la cittĂ e farlo prima di mettersi sulla cartina B EFmOJSF JM QSPQSJP USBHJUUP RVFTUB FSB lâ&#x20AC;&#x2122;intenzione.

Il gioco è stato dunque rielaborato per poter permettere ai partecipanti di costruire OVPWF JNNBHJOJ OVPWF EFmOJ[JPOJ 4POP

state inserite le cartolinette tratte dalle interviste e alcuni dei post it delle fasi precedenti (scelte dai partecipanti). Un OVNFSP EFmOJUP QFS PHOJ HSVQQP UFNQJ dati per ogni giro, due domande per giocare.

Cosa ti sorprende? Cosa è cultura (a Milano e non solo)?

-F SJTQPTUF TJ TPOP BOEBUF EFmOFOEP piano piano. %PQP BWFS QSFTP DPOmEFO[B DPO JM HJPDP (primo giro molto libero, giri successivi piÚ costretti nel seguire una sequenza) si è tentato di costruire un discorso collettivo.

Pensando veloce, perchĂŠ lâ&#x20AC;&#x2122;attenzione rimanesse tesa e non calasse.

IMMAGINE COSA TI SORPRENDE O TI SORPRENDEREBBE A MILANO?

t t t t t t t t t t t

DIMENSIONE DINAMICA $JĂ&#x203A; DIF DPOUJOVB OFM UFNQP 5SBHJUUJ F HJSFUUJ 'PSNB EFMMP TQB[JP $VSWB 5FSSJUPSJBMJUĂ&#x2039; "MBZB TIJLJ &SPUJTNP "GmOJUĂ&#x2039; 4FSFOEJQJUZ 0TTFSWBSF

t

DIFFERENZA 4$".#*0

t t t t t

6TP 5SJDLTUFS GPUP

(JPDP GPUP

4FOTPSJBMJUĂ&#x2039; 'VHBDJUĂ&#x2039;

t

t t t t t t t t t t t

1BTTBHHJP 5SBTGFSJSF 4JDVSF[[B EJ TĂ?

4FNQMJmDBSF &OFSHJB DPNQPSUBNFOUBMF *EFOUJUĂ&#x2039; NJMBOFTF "QFSUVSB 3BDDPOUBSF (SBEP EJ MJCFSUĂ&#x2039; $BSUB CJBODB %JNFOUJDBSF

t

RACCONTARE

15

COSâ&#x20AC;&#x2122;Eâ&#x20AC;&#x2122; LA CULTURA IN CITTAâ&#x20AC;&#x2122;?

La seconda domanda, e quindi il secon do turno di gioco, chiedeva â&#x20AC;&#x153;Che cosâ&#x20AC;&#x2122;è la cultura in una cittĂ ?â&#x20AC;?. CittĂ che non per forza doveva essere Milano, anche se poi DJ TJ Ă&#x2019; DPODFOUSBUJ TVJ MVPHIJ mTJDJ EJ DVMUV ra appartenenti a questâ&#x20AC;&#x2122;ultima, anche per evitare una deriva troppo teorica e poco concreta del brain storming stesso.

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t SFONDARE I CONFINI t

Paesaggio

t DIFFERENZA t t t t t t t t t t t t

Intraprendere Italia non Italia?

Grado di libertĂ Sfumature Trasferire 4USBUJmDB[JPOF Dimenticare Bricoleur SensorialitĂ Incontro Osservare Monumentale e Minima

t CONNETTERE t SORPRENDERE t t t 16

Chi produce cultura oggi?

Trasferire Cosâ&#x20AC;&#x2122;è la cultura?

SECONDA MANO

SI RILANCIA LA DOMANDA Nel rilanciare la domanda implicitamente, senza dichiararlo apertamente, pensavamo a quei luoghi che possono essere luoghi di cultura (lasciando libera l’interpretazione, e non intendendo quindi luoghi istituzionali della cultura). Le risposte come vedete sono interessanti.

L’elenco sciolto è questo: t t t t

Sperimentare Dimenticare "GmOJUË Come? Dove?

t DENTRO/FUORI PAGAMENTO

GRATIS/A

t

t

Triennale Mostre gratis e a pagamento Bar+Parco+mostre: giacimento di patrimoni e laboratori H&M a Milano: espressione del tempo presente e senso estetico.

Anche H&M è luogo di cultura se lo si considera come espressione del tempo presente Zona Tortona è diventata Zona Tortona: uscita dal nulla. Esempio di trasformazione culturale di un quartiere, anche grazie alle competenze

Luoghi di cultura: bello se non istituzionalizzato Sarebbe bello avere dei luoghi di cultura iTQPOUBOFJw F OPO DPEJmDBUJ t t t t

vita Caffè Luoghi del cibo Biblioteca Incontro tra culture a Milano

t CENTRI SOCIALI t t t

Spesso a Milano c’è una dinamica di questo tipo: quello che è dentro è a pagamento, ci sono barriere economiche all’accesso e vale anche per la cultura t

t t t t

Circoli arci Incontri informali che facciano vivere lo spazio culturale Luoghi aperti da vivere

t RECUPERO DEI TEMPI VUOTI/ PERSI/GUADAGNATI t t t t t

università Università politecnico (ma bloccato) Rotonda della Besana Accumulo Riciclo: usare le cose in modo differente

ci sono barriere economiche all’accesso e vale anche per la cultura

Assenza di posti semplici e non luccicanti L’interesse e l’uso intensivo Fenomeni come critical mass $JDMPGmDJOB DPNF DVMUVSB EJ NPEFMMJ EJ 17

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CONTEXT

3 NOTE A MARGINE

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Ă&#x2C6; un luogo, anche metaforico, i cui DPOmOJ TPOP EB TGPOEBSF 3JHVBSEB JM paesaggio, le differenze, anche lâ&#x20AC;&#x2122;iniziativa del prendere nuovi percorsi. Lâ&#x20AC;&#x2122;innovazione nella ricerca ma anche nellâ&#x20AC;&#x2122;affrontare le differenze, con un grado di libertĂ .

Ha a che fare con la sensorialitĂ , con M FTQFSJFO[B DPO MB TUSBUJmDB[JPOF F JOmOF con lâ&#x20AC;&#x2122;immagazzinare nellâ&#x20AC;&#x2122;apprendere continuo, che rilancia.

PerchĂŠ la cultura è dimenticare (quanto appare importante questa voce, se si pensa al tradizionale modo di intendere lâ&#x20AC;&#x2122;ecomuseo, come luogo delle memorie e delle tradizioni), è sperimentare.

Analizzando i diversi cartellini, e le loro sequenze ricostruite, emergono ulteriori TQVOUJ TVJ RVBMJ WBMF MB QFOB EJ SJnFUUFSF ancora: t %JOBNJDB HSBUJT B QBHBNFOUP DIF investe anche i luoghi culturali. Le barriere allâ&#x20AC;&#x2122;accesso e la permeabilitĂ EFJ MVPHIJ RVBOEP JM mMUSP Ă&#x2019; TPMP MB disponibilitĂ economica. t -B EJGmDPMUĂ&#x2039; F MB OFDFTTJUĂ&#x2039; EJ FTTFSF contemporanei: cosa implica la contemporaneitĂ ? Può implicare osservare anche H&M come un

t

t

luogo di produzione culturale? queste considerazioni provocanti portano a ripensare radicalmente quello che chiediamo a un luogo culturale, e nella mappatura ciò che inseriamo nei luoghi culturali Competenze diffuse senza fermarsi BMMB DPOUSBQQPTJ[JPOF BMUP CBTTP M FTFNQJP EFMMB DBTB EJ NPEB TJTUFNB EJ QSPEV[JPOF DVMUVSBMF DIF prevede le competenze anche al livello piĂš â&#x20AC;&#x153;bassoâ&#x20AC;? della sartinaâ&#x20AC;Ś).

Quali competenze diffuse? Quali devono esserci per progettare e per costruire in modo condiviso? Quali devo riconoscere per attraversare e vivere un tessuto culturale diffuso nel territorio?

Importanza dei luoghi culturali anche non istituzionalizzati (i caffè, i cortili, le rotonde, i gradini dei negozi â&#x20AC;&#x201C; lo WFESFNP EPQP OFMMB NBQQBUVSB HMJ interstizi di verde nel territorio che promuovono aggregazione, soste, TDBNCJ QPTTJCJMJUĂ&#x2039; BMDVOJ OFHP[J alcune strade, etc etc) li abbiamo immaginati tutti questi luoghi culturali ancora non istituzionalizzati?

COSâ&#x20AC;&#x2122;Eâ&#x20AC;&#x2122; LA CULTURA? SPECIFICHE

GIOCO CARTE

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RILANCIO DOMANDA

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CONTEXT

4

i STOP NEXT

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DECISIONE ITINERARIO

Le mappe riportavano su lucidi trasparenti i percorsi disegnati. Predisposti alla sorpresa e alla scoperta.

DEFINIRE IL TRAGITTO Durante la fase di mapping i partecipanti hanno deciso gli itinerari da percorrere per esplorare il territorio.

Le esplorazioni sono state effettuate a gruppi o singolarmente. Le regole erano assolutamente libere, con la preferenza di percorrere l’itinerario a piedi e 24

tassativamente nel tempo massimo di due ore.

Al ritorno dall’esplorazione si è chiesto ai partecipanti di raccontare l’itinerario fatto e quello che avevano visto, cosa li aveva colpiti, che cosa avevano notato, percepito, sentito ecc.

Restituzione dell’esplorazione. Cosa si è osservato?

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26

CONTEXT

5

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VOCAZIONI DEL TERRITORIO

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â&#x20AC;&#x153;Ho  lasciato  volutamente  tutte  le  nostre  elaborazioni,  senza  censura  e  senza  selezionare  e  separare  ancora  le  opzioni  percorribili  da  quelle  soltanto  curiose,  nate  per  assonanza.â&#x20AC;?

Noemi Satta

COSA MANCA A MILANO PER RISPETTO DI ECOSISTEMA IN EQUILIBRIO? t

Bellezza, ozio, colori, poesia, curva, OP BJN

t TEMPO TRA LAVORO E CONSUMO t

Abitare non solo tornare a dormire

t NECESSITĂ&#x20AC; DI SOSTA t PASSAGGIO INTERNO t t

Giardini pubblici e privati Vuoti â&#x20AC;&#x201C; calma silenzio camminare

t CREARE Lâ&#x20AC;&#x2122;INASPETTATO t t 28

Abitare tempo Sostare

DISTILLATI

E SINTESI

t

Ozio e operositĂ

t SPAZIO E TEMPO RITROVATO t t t

Abitare 4USBUJmDB[JPOF MolteplicitĂ e contrasto

t CONTENITORI Dâ&#x20AC;&#x2122;INCONTRI t

PossibilitĂ di incontri e mescolanze

t SCAMBIARE ESPERIENZE PER INNOVARE t

Creare occasioni inaspettate

t SGUARDI DIVERSI E COMPLEMENTARI t t

Mostrare le eccellenze e le esperienze Valorizzazione del tempo (tra lavoro e consumo)

t CONTIGUITĂ&#x20AC; INCONTRO PAUSA t PIAZZA PUBBLICA COPERTA t

Permane una certa bellezza â&#x20AC;&#x153;storicaâ&#x20AC;? che va difesa

t LUOGO DI PASSAGGIO (STRATI) t

1BFTBHHJ JO GSB PMUSF

(attraversamenti)

t ANDAMENTO DEL RITMO QUOTIDIANO E PRODUTTIVO

SPAZIO E TEMPO RITROVATO ANDAMENTO DEL RITMO QUOTIDIANO E PRODUTTIVO

CONTENITORI Dâ&#x20AC;&#x2122;INCONTRI

+

SCAMBIARE ESPERIENZE PER INNOVARE

LUOGO DI PASSAGGIO (STRATI) CONTIGUITĂ&#x20AC; INCONTRO PAUSA PIAZZA PUBBLICA COPERTA 29

BIBLIOGRAFIA

E SITI DI RIFERIMENTO

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FLORIDA RICHARD Cities and the Creative Class, new york, routledge, 2005 FLORIDA RICHARD Whoâ&#x20AC;&#x2122;s Your City, new york, Basic Books, 2008

/0&.* 4"55" XXX m[[ JU BSUJDPMP dal titolo â&#x20AC;&#x153;Partecipare al patrimonio.

3JnFTTJPOJ TV OVPWF NPEBMJUĂ&#x2039; EJ SBQQPSUP tra pubblico, patrimonio culturale e territorioâ&#x20AC;? documentazione scritta e video WS creativo dellâ&#x20AC;&#x2122;ecomuseo, cascina $VDDBHOB .JMBOP HJVHOP http://www.rietveldlandscape.com/en/ news/441

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