MyA - Service Design Thesis - by Rosalia Galeano

mYa

The collective farmyard for neighbourhood social innovation

Rosalia Galeano Supervisor: Anna Meroni Assistant supervisor: Marta Corubolo

Politecnico di Milano

Design School Product Service System Design MyA - the collective farmyard for neighbourhood social innovation Supervisor: Anna Meroni Assistant supervisor: Marta Corubolo Rosalia Galeano, 814518 a.a. 2014-2015

mYa

The collective farmyard for neighbourhood social innovation

To those who love me.

index 1 ABSTRACT 1.1 English Abstract 1.2 Italian Abstract

13 14 15

2. INTRODUCTION

3. SENSE OF COMMUNITY 3.1 Society and the mankind 3.2 Innate sense of community 3.3 Conclusion

23 24 26 29

4. CULTURAL FACTORY 4.1 Art and culture role in the society 4.1.1 Community and cultural heritage 4.1.2 Community character and sense of place 4.1.3 Community engagement 4.1.4 Economic vitality 4.2 Cultural Centres hystoric context 4.2.1 Case history: Melkweb, Amsterdam 4.2.2 Case history: Metelkova, Ljubljana 4.2.3 Case history: Rex B92, Belgrade 4.3 Independent Cultural Centre features 4.4 Independent Cultural Centre networks 4.5 Case history: Trans Europe Halles

31 32 36 36 36 37 38 40 41 41 42 45 46

INDEX |

5. SERVICE DESIGN 5.1 A society costantly developing 5.2 Design for socal innovation 5.3 My service design approach 5.3.1 What is service design? 5.3.2 My role as service designers

49 50 52 53 53 56

6. PROJECT CONTEXT 6.1 Laws about landscape and cultural heritage 6.2 Culture and structural funds in Italy 6.3 Culture statistics in Italy 6.3.1 Cultural activities statistics in Italy 6.3.2 Cultural expense and fruition in Italy 6.4 Milan: culture and design city 6.4.1 Milanese decentralization zones 6.4.2 Milan zone 7 6.4.3 Milan zone 7 statistics

59 60 62 65 66 67 70 71 71 73

7. MARE CULTURALE URBANO 7.1 What is mare culturale urbano? 7.1.1 mare mission 7.1.2 mare purpose 7.1.3 mare project idea 7.2 mare headquarter: Cenni di Cambiamento 7.3 mare community activities 7.4 mare inspiration 7.4.1 Case history: Matadero, Madrid 7.4.2 Case history: Subtopia, Stoccolma

77 78 80 80 80 81 82 84 84 86

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7.4.3 Case history: Kaapelitehdas, Helsinki 7.4.4 Case history: Underground Village, London 7.4.5 Case history: Stanica, Zilina 8. CASCINA TORRETTE DI TRENNO 8.1 Farmhouses in Milan 8.1.1 Cascine Expo 2015 8.2 Cascina Torrette di Trenno 8.2.1 The urban context 8.3 Behind the project development 8.4 Co-design session data 8.4.1 Co-design session summary 8.5 Italian benchmark anlysis 8.5.1 Best practice: Cascina Cuccagna, Milan 8.5.2 Best practice: CĂ Shin, Bologna 8.5.3 Best practice: Jes!, Jesi (AN) 8.5.4 Best practice: Sudlab, Portici (NA) 8.5.5 Best practice: Farm Cultural Park (AG) 8.6 Local competitors analysis 8.6.1 Competitors: Olinda 8.6.2 Competitors: Base ex-Ansaldo 8.6.3 Competitors: Santeria Social Club 8.6.4 Competitors: Mudec 8.6.5 Competitor: Triennale di Milano 8.6.6 Competitor: Cascina Cuccagna 8.6.7 Competitor: CasciNet 8.6.8 Competitor: Cascina Martesana 8.6.9 Competitor: 4cento

87 88 89 91 92 92 94 96 98 100 120 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141

8.7 Cascina Torrette di Trenno placing 8.8 Offering Map 8.8.1 Thematic areas activities analysis 8.9 Services and spaces

142 144 150 151

9. MyA PROJECT 9.1 Project focus: the farmyard 9.1.1 Farmyard bonds and opportunities 9.2 Project idea generation 9.2.1 Concept 1: doing by yourself 9.2.2 Concept 2: leave your traces 9.2.3 Concept 3: taste experiences 9.3 Field research: interviews 9.4 Project beginning 9.4.1 Case study: Instructable restaurant 9.4.2 Case study: Huellas artes, Santiago 9.4.3 Case study: Scendi câ&#x20AC;&#x2122;Ă¨ il cinema 9.5 How the project works 9.5.1 Main services 9.6 Project identity: Logo 9.7 Physical project side: the space 9.8 Digital project side: the app 9.9 MyA System Map 9.10 Human behaviours analysis 9.10.1 Offering Map 9.11 From behaviours to interior 9.11.1 Case study: ConstructLab 9.11.2 #costruirelimprovviso

155 156 158 159 160 161 162 164 172 174 174 175 176 176 178 180 182 184 186 194 195 196 197

9.11.3 Inspired by self-construction 9.11.4 My approach to self-construction 9.11.5 Farmyard interior design 9.12 MyA app prototype 9.13 Interaction storyboard 9.14 Storyboard

202 203 204 216 232 234

10. FOCUS GROUP 10.1 Participatory design approach 10.1.1 Co-design & Co-production 10.2 Focus group meaning and method 10.3 Focus group and Co-design for the farmyard 10.3.1 Focus group structure: involve people 10.3.2 Focus group structure: let people design 10.3.3 Focus group insights 10.3.4 Focus group structure evaluation

251 252 253 254 256 257 258 260 267

11. FINAL THOUGHT 11.1 Conclusion 11.2 Acknowledgements

275 276 278

12. BIBLIOGRAPHY

281

INDEX |

IMAGES INDEX - Photo Fig. 1, Untitle. The Velvet Years: Warhol’s Factory, photo by Stephen Shore (1965-1967), p. 39; Fig. 2, Melkweb, Amsterdam, p. 40; Fig. 3, Metelkova, Ljubljana, p. 41; Fig. 4, Workshop with citizens by mare culturale urbano, Milan Expo Gate, photo by Luca Chiaudano (2016), p. 57; Fig. 5, mare culturale urbano inauguration, Milan Expo Gate, photo by Luca Chiaudano (2016), p. 70; Fig. 6, mare culturale urbano flayers, photo by Luca Chiaudano, p. 79; Fig. 7, mare culturale urbano, Via Novara 75 prototype, p. 80; Fig. 8, Cenni di Cambiamento, Via Gabetti 15 (MI), photo by author, p. 81; Fig. 9, “Festa in Borgo”, by mare culturale urbano, photo by Luca Chiaudano (2015), p. 82; Fig. 10, mare culturale urbano inauguration, Milan Expo Gate, photo by Luca Chiaudano (2016), p. 83; Fig. 11, Matadero, Madrid, p. 85; Fig. 12, Subtopia, Stockholm, p. 86; Fig. 13, Kaapelitehdas, Helsinky, p. 87; Fig. 14, Underground Village, p. 88; Fig. 15, Stanica, Zilina, p. 89; Fig. 16, Cascina Grande, Gaggiano (MI), p. 93; Fig. 17, Cascina Torrette di Trenno over the centuries, p. 94; Fig. 18, Cascina Torrette di Trenno, Via Quinto Cenni 11 (MI), photo by author, p. 95; Fig. 19, Cascina Torrette di Trenno urban context, photo by author, p. 97; Fig. 20, Brand identification Moodboard, by author, pp. 124-125; Fig. 21, Cascina Cuccagna in Milan, p. 127; Fig. 22, Cà Shin in Bologna, p. 128; 10

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Fig. 23, Jes! in Jesi (AN), p. 129; Fig. 24, SudLab in Portici (NA), p. 130; Fig. 25, Farm Culturl Park in Favara (AG), p. 131; Fig. 26, Olinda, p. 133; Fig. 27, Base, Ex-Ansaldo, p. 134; Fig. 28, Santeria Social Club, p. 135; Fig. 29, Mudec, p. 136; Fig. 30, Triennale di Milano, p. 137; Fig. 31, Cascina Cuccagna, p. 138; Fig. 32, CasciNet, p. 139; Fig. 33, Cascina Martesana, p. 140; Fig. 34, 4cento, p. 141; Fig. 35, Cascina Torrette di Trenno, photo by author, p. 142; Fig. 36, Thematic areas activities analysis, photo by author, p. 150; Fig. 37, Cascina Torrette di Trenno renovation work, photo by author, p. 151; Fig. 38, Scendi, c’è il cinema, Milan, p. 175; Fig. 39, Casa do Vapor, Exyzt & ConstructLab, Trafaria (Portugal), 2013, p. 199; Fig. 40, #costruirelimprovviso (detail), photo by author, p. 200; Fig. 41, #costruirelimprovviso , photo by author, p. 201; Fig. 42, Farmyard rendering model, by author, p. 205; Fig. 43, Farmyard by day, rendering model, by author, p. 207; Fig. 44, Render A, p. 209; Fig. 44, Render B, p. 211; Fig. 45, Farmyard by night, rendering model, by author, p. 213; Fig. 46, Render C, p. 215; Fig. 47, Focus group with citizens, photo by author, p. 256; Fig. 48, Focus group Storyboard and questionnaires, photo by author, p. 258; Fig. 49, Focus group with citizens, photo by author, pag. 259; Fig. 50, Table setting, photo by author, pag. 262;

- Graphic Grap. 1, Disertation overview, by author, pp. 20-21 Grap. 2, Dimension of Arts and Culture, by APA (2011), p. 33 Grap. 3, Design for Services Summary, by author, p. 51; Grap. 4, D4S map, by A. Meroni & D. Sangiorgi, 2011, p. 55; Grap. 5, Inphographic about cultural and art in Italy, by author, pag. 65; Grap. 6, Summary of Milan Data (source ISTAT), by author, p. 72; Grap. 7, Zone 7 urban contex map, by author, p. 96; Grap. 8, Thematic areas map, by author, p. 99; Grap. 9, Project development map, by author, p. 120; Grap. 10, Thematic areas harmonization, by author, p. 121; Grap. 11, Thematic areas values, by author, p. 122; Grap. 12, Thematc areas brand, by author, p. 123; Grap. 13, Italian best practices, by author, p. 126; Grap. 14, Local competitors location, by author, p. 132; Grap. 15, Cascina positioning cross, by author, p. 143; Grap. 16, Offering Map Food service, by author, p. 144; Grap. 17, Offering Map Co-Working, by author, p. 145; Grap. 18, Offering Map Training, by author, p. 146; Grap. 19, Offering Map Rehearsal rooms, by author, p. 147; Grap. 20, Offering Map Renting rooms, by author, p. 148; Grap. 21, Offering Map Merchandising, by author, p. 149; Grap. 22, Cascina Torrette di Trenno, Ground floor, p. 152; Grap. 23, Cascina Torrette di Trenno, First floor, p. 153; Grap. 24, Project focus: farmyard, by author, p. 156; Grap. 25, Farmyard bonds and opportunities, by author, p. 158; Grap. 26, Key words and activities, by author, p. 159; Grap. 27, Doing by yourself Moodboard, by author, p. 160; Grap. 28, Leave your traces Moodboard, by author, p. 161;

Grap. 29, Project concept: taste experiences, by author, p. 163; Grap. 30, Interviews analysis, by author, p. 170; Grap. 31, SWOT analysis, by author, p. 171; Grap. 32, Project value, by author, p. 172; Grap. 33, Farmyard activities, by author, p. 173; Grap. 34, Farmyard activities calendar, by author, p. 180; Grap. 35, Cascina Farmyard, Ground floor, by author, p. 181; Grap. 36, Application structure, by author, pp. 182-183; Grap. 37, Benefits system, by author, p. 184; Grap. 38, Farmyard System Map, by author, p. 185; Grap. 39, Human behaviours, by author, p. 186; Grap. 40, Human behaviours Area Relax, by author, p. 187; Grap. 41, Human behaviours Open Co-Wo, by author, pag. 188; Grap. 42, Human behaviours Event | Cineforum, by author, p. 189; Grap. 43, Human behaviours Event | Exhibition, by author, p. 190; Grap. 44, Human behaviours Event | Concert, by author, p. 191; Grap. 45, Human behaviours Digitall Area, by author, p. 192; Grap. 46, Human behaviours Repair Cafe, by author, p. 193; Grap. 47, Farmyard Offering Map, by author, pp. 194-195; Grap. 48, Behaviours influence interior design, by author pp. 196-198; Grap. 49, Self-construction Moodboard, by author, p. 202; Grap. 50, Self-construction Moodboard, by author p. 203; Grap. 51, Interaction storyboard, by author, pp. 232-233; Grap. 52, Questionnaire prototype, p. 267; Grap. 53, Focus group preferences, by author, p. 270; Grap. 54, Focus group evaluation, by author, p. 271; - Table Tab. 1, Connections of Planning goals to Art, Culture and Creativity, by APA (2011), p. 35; INDEX |

1. abstract THE PROJECT BEGINNING

1.1 abstract ENGLISH Nowadays the societal need of gathering places for sharing and social expression has become increasingly urgent. This phenomenon is manifested especially in the urban areas through urban models intolerance, because of their environmental and societal approach, no longer sustainable. Examples could be the individual alienation and the loss of belonging and community identity. The global answer to these kind of issues has been represented by the establishment of many multi-cultural centres, which have as main aim the highlighting of these new kind of changes and participation trends, expected from the society. My project thesis is a research for solutions for social, cultural but also economic regeneration in a local community, in particular Quarto Cagnino neighbourhood. The main goal is the transformation of common activities, such as work, free time, training and so on, in new pooling and sharing systems fundamental for a modern healthy society. Those kind of mechanisms has been analyzed both on a physical scale, through the renovation of Cascina Torrette di Trenno and especially of its farmyard, and on a relational scale, thanks to the creation of a collective network of people, activities and skills, supported by technological component. My project is about redesigning the courtyard of Cascina Torrette di Trenno, to make it a comprehensive place, full of activities and ambitions, an active engine for social innovation processes, as well as urban regeneration courses, for new sustainable ways of living.

| 1. ABSTRACT

1.2 abstract ITALIAN La società contemporanea degli ultimi anni, ha palesato una chiara esigenza di luoghi di aggregazione, espressione e condivisione. Questo pressante bisogno nasce soprattutto nelle realtà urbane e si manifesta tramite una crescente insofferenza verso modelli urbanistici non più sostenibili sia da un punto di vista ambientale che sociale. Esempi del crescente disagio della nostra società si riscontrano nell’alienazione dell’individuo e nella perdita delle identità comunitarie e di quartiere. La risposta a livello globale, è rappresentata dal sorgere di centri multi-culturali con l’obiettivo di dare voce ed espressione a queste istanze di cambiamento e partecipazione di cui la nostra società necessita. La mia tesi nasce come una ricerca progettuale circa la possibilità di rigenerare il tessuto sociale, culturale ed anche economico, di una comunità locale: il Quartiere di Quarto Cagnino. L’obiettivo ultimo è la trasformazione di dinamiche locali comuni quali lavoro, svago, apprendimento, formazione, etc., verso nuove forme di condivisione e socialità, necessarie per una società sana. Questi meccanismi vengono innescati tramite un intervento che agisce sia sul piano fisico, con il recupero di un luogo della memoria abbandonato -la Cascina Torrette di Trenno ed in particolare, l’aia interna all’edificio-, che su quello relazionale, attraverso la creazione di una rete collettiva di persone, attività e competenze, a loro volta supportati dalla componente digitale. Il mio intervento pertanto consiste nel riprogettare il cortile di Cascina Torrette di Trenno, rendendolo un luogo inclusivo, ricco di attività ed aspirazioni, un motore attivo per processi di innovazione sociale e rigenerazione urbana, nell’ottica di nuovi e più sostenibili stili di vita.

ABSTRACT 1. |

2. intro

CHANGING SOCIETY AND CULTURE

2. INTRO CHANGING SOCIETY AND CULTURE

During the second half of the 20th century, between the ‘70s and the ‘80s, the western society was characterized by a multitude of changing drives. Our western culture, from the American neighbourhood to the Italian squares, was subjected to the first of two big crisis. I’d like to use the terms “crisis” to identify a transformation moment in the mankind history. In the seventies Italy absorbed, interpreted and realized the great contraditions of western society in its own image. It’s the energetic and environmental crisis that start to highlight the capitalistic model limits, it’s the traditionals values system crisis manifested by the art among other things, first of all by the Pop Art, and then it’s a revolutionary period for the arise of new kind of music, ideology and schools of thought. I’d like to list just some of transformations that characterized those years: the movement for the American black people’s right led by Martin Luther King, the BR in Italy, the Years of Lead and so on. Those are all signals of a new coming scenario for the society. In Italy, as often happens, the transformation tendencies arrived a little late but also in this historic period our Country was one of the protagonist of the crisis results. One of them is the downfall of the urbanistic myth: the disillusionment of the perfect rationalist city of the ‘50s and the housing boom during the swinging ‘60s collided with the development of increasingly alienating cities in which the physic dimension was inversely proportional to the social and relational one. As well London, Paris, New York and other big cities, also Milan grew up as an industrial giant. Unfortunatly the aggressive industrialization brought with it many negative aspects, like the “suburb” concept, the idea of dormitory towns, the absorbing of the rural areas and the abandonment of countrysides. Even now cities are growing too fast and too big in relation to the citizens who are forced to be vertically stack in little modular concrete boxes. The most important signal about the firt western social and cultural crisis might be synthetized in one element: the industrial building, big warehouse, iconic hopeful

| 2. INTRO

symbol for an endless development. On the contrary they were abandoned, forgotten as happened to farmhouses in the past. Factors were closed, fallen into disuse or moved abroad. In this mass of contraddictions, citizens and in particular young people started to build the environment that has been denied them by the society: they started to occupy old industrial buildings to create independent community centres for art and music, they paraded through the streets, started being involved in debates and political meetings. The common aim was to aggregate people with the same needs and tendencies, even if belonging to different social classes. People created collective spaces that, as happened with the arise of oratory in 1841, became actual social catalysts able to change behavioral aspects of people. The process, first spontaneous, became more and more conscious and especially a global issue. In fact it wasn’s just an Italian phenomenon but a social event that invested all the western culture, even if with some differences according to the situation. However the ideas were always the same: freedom, community, sharing, art, music, social services for a better future. In the ‘90s this socio-cultural communities considerably increased, becoming places in which culture is not just “local”. The 21st century indicates the beginning of the second big society crisis (once againg it has to be interpreted as a “transformation”). The world became more and more “global” and the environment in which people have to live became increasingly uncertain and instable. In few years Internet, as a cyclone, had upset the communication system, had increased exponentially the thoughts and the ideas spread, producing a progress coated by a thin veil of uncertainty and confusion. The world is continuosly bigger, dispersive but also smaller at the same time. According to the polish philosopher Zygmund Bauman (Bauman, 2015), we are living in the “liquid modernity”. On the basis of Bauman theory one of the main characteristic of our time is the State crisis.

The State able to solve equally individuals’s daily problems, is going to disappear. As a result of the State’s crisis, ideologies and consequently factions are falling down as well as a lot of values systems able to approach people’s problems and needs, allowing them to feel part of something. This is at the origin of the crisis of community considered as a value and the consequence of an uncontrolled individualism. Nobody is friend of someone else but enemy. According to Bauman this kind of “individualism” has damaged our society on the base, making it fragile. In a situation like that one there isn’t any reference points and everything disappears in a kind of liquidness. Because of the rights guarantee loss, the only solution for an individual without reference points is on one hand the “appearance” at any costs and on the other one is the consumerism capable to make objects immediately obsolete. Starting from Bauman’s theory, it is clear that the western economic model is in crisis. This is the beginning of a new economic downturn, an intense transformation period in progress. What is now happening is the shaping of a new economy arisen from the old economy ruins. New patterns suggest a positive development and the return of traditional values based on community and trust concept: we are talking about sharing economy, a new trend that characterize more and more strongly everyone daily life. The build-up of this new economy goes inevitably hand in hand with the second digital revolution (web 2.0); smartphones and tablet makes us part of a big network of people, independently if they are close or far from us. As happened in the ‘70s, “glocalization”, networking, sharing and so on, establish a transformation of society. One more time cities are the great protagonists of a desiderable urbanistic and social revolution, very important after the thougthless post-war building boom in the last century. In fact according to the architect and town planner P. L. Cervellati (Cervellati, 2009) it’s indispensable to define a new urban typology to re-establish an eco-friendly and liveable environment. Cervellati proposes the “metropolitan city” as a solution. The city needs “a relation with the

suburbs to regen itself; a relation that didn’t exist in the second half of the last century” (Utopie Concrete, Settembre 2009, p.5). In this way citizen can find again a dimension suitable for their innate herd and collaborative instinct. Both in the past than in these last years, subsequently to these new social demands, have taken place many experiences capable to give a physical place for those ideas of community and sharing, through the free collaboration between people, art diffusion and similar phenomena. In Europe and in Italy as well, we count dozens of various examples in this sense. They are all slightly or deeply differents, but also contain the same seed of change: from the community centres to voluntary associations, from corporations to modern co-working, and so on. Among all these models, the cultural centre represents one of the most tangible and innovative achievements; got thanks to the effort of those who never stopped supporting art, culture and sharing behaviour as ways to change society. These simple words have been the starting point for the economic recovery of the ‘70s and the ‘80s, while today the same regeneration of society and social values is rooted on them. So, what’s the difference between the early cultural centers and those born nowadays? The essential changing is that today, our cultural centres become “multi”, or rather they summarizes more roles than in the past, they embraces more functions, they get into a world wide network: both the web and the social one as well. Besides they answer with concreteness to a diffuse need of social relationship and at the same time they are meeting places, complementary for the virtual globalized world. The innovation is the collective consciousness of these new centres. They aren’t just spontaneous, but often (in various forms) even administration entities plan and promote them. The multi-cultural centre evolves into a new experience, totally opposed to the logic of the shopping centre meant as place for multifunctional aggregation.

INTRO 2. |

Disertation overview, Grap. 1 by author

grap. 1

research

/ case studies / Trans Europe Halles cultural centre

The last one is anchored to the past while is claiming to be novelty, as well as the the first one is the true neweness that uses the past to transform it and make it evolve. Moreover an emblematic element typical of cultural centres, either new than older ones, is the reuse of abandoned buildings, factories, laboratories, warehouses, degradated areas and so on. These are the icons of a failed society, that now are reproposed, adapted, restored and sized to citizen’s size. If the collective consciousness is asking for such places, our task -as designers- is to design them. But designing a new reality like that one, requires new tools and new approaches. In this context the project is no longer imposed by a god-shaped designer, but instead designing needs to be shared and participated with its users, namely with those who will benefit. That new assumption integrates the concept of co-products (Cottam & Leadbeater, 2004) or more generally of co-creation: I’ll analyze it later, but basically it’s an innovative process that includes as protagonists of designing process everyone who is involved by it -directly or not- in an open climate of sharing and confrontation. My Thesis is born from the collaboration with an innovative start-up based on a strong social vocation: mare culturale urbano, which acts in behalf of the neighborhood, where the projectual process takes place, regarding its needs and aspirations. mare culturale urbano aim is the creation of two cultural centres in the Zone 7 of Milan, according to the multi-centric vision. One of them will be inside the farmhouse “Cascina Torrette di Trenno “. Therefore the design arose through a reflection about the community and the involvement of neighbors, first recipients of mare culturale urbano. The need to design not only a space but even the added value given by function, has made possible and necessary especially the relation’s design: not just spatial, but also social, interactive and communicative.

| 2. INTRO

thesis map

SENSE OF COMMUNITY

CULTURAL FACTORY

Man lives in societal group by nature culture Reveals human feelings, needs and troubles

society / develops cultural heritage / affects human behaviours / enables sense of identity

What role do service designers play in society?

SERVICE DESIGN

Enables strategies for social innovation

analysis

project

feedback

Why do we need to safeguard culture and landscape? cultural heritage

PROJECT CONTEXT

Preserve identity and sense of belonging

/ case studies MARE CULTURALE URBANO

desk research / self-construction approach / human behaviours research

design for: / social inclusion / urban regeneration / multicultural society / sense of identity

CASCINA TORRETTE DI TRENNO

/ co-design with the team / case studies and competitors / offering map / space and services

/ filter of activities / plaza for encounters concept: taste experiences

MyA

Deal with a changing society

Focus of the project:

social innovation

farmyard

How do we can answer to the most urgent societal needs?

The collective farmyard for neighbourhood social innovation

desk&field research

People move around the space physical side: space

how it works

digital side: app People interact with the space

/ system map / offering map / storyboard

FOCUS GROUP

co-design to: / verify project / achieve insights

project development / Values / Key words

Mockup of the application

field research / neighbors interviews INTRO 2. |

3. SENSE OF COMMUNITY HOW MEN BECOME HUMAN BEINGS

3.1 SOCIETY AND MANKIND We all share the idea that “Man is by nature a social animal (f  )... It is clear therefore that the state is also prior by nature to the individual; for it each individual when separate is not self-sufficient, he must be related to the whole state as other parts are to their whole, while a man who is incapable of entering into partnership, or who is so self-sufficing that he has no need to do so, is no part of a state, so that he must be either a lower animal or a god” (Aristotle, Politics, 1, 1253a, 20, IV century BC). 1 Even if we still don’t know the exact origin of society, it is an accepted fact that man has been living in society since immemorial time. Man is by nature a social animal, destinated to live and die inside a social environment. Society is indispensable for his existence and welfare. Man cannot live a solitary life, far from an organized community, because in almost all aspect of his life he feels the need of other people. The instinct for some form of social life is innate in human being, it’s a biological and psichological factor. From the beginning man has belonged to an organized group, without which he cannot exist at all. According to the american sociologist R. E. Park “man is not born human but to be made human” (Park, 1921), he learns his social qualities, habits and behaviors from the society itself. This is the reason why society becomes necessary to make a man a human being. Many philosophers, sociologists and thinkers during the centuries examined the human condition about his basic behavioural pattern. Almost all of them agree that there is a very close relation between the individual and the society. It’s possible to maintain that without a social environment, be it his home or his community, no

stability would be brought to his status as an individual. Due to this statement, many thinkers conclude that individual is a product of society. However, on the other hand, other thinkers affirm that the truth is just the contrary. According to their thought, society is the result of the encounters between individuals. Since it may be pointless entering into the controversy as to whether the individual came before the society, or the society came before the individual, I’d like to going in depth on the causes of the society growth and on the role of the individual in it. One of several theories that try to explain the relationship between the society and the individual, is the “Theory of Social Contract”. It was enunciated by Thomas Hobbes in his book “The Leviathan”, published in 1651. The theory conceives of a pre-society state of nature in which strife and killing was the rule (“the war of all against all”), and man’s life was “poor, solitary, nasty, brutish and short”. That civil war could only be avoided by strong undivided government. In the eighteenth century, Rousseau, starting from the Hobbes’s Social Contract but avoiding his thought, introduced the theory according to which state of nature was a free world in which unlimited human bliss at first did not motivate man to think in terms of a contract. Only when population increased and the concept of personal property was gaining recognition, in order to protect himself, man voluntarily made the social contract. Individual will was then, for collective good, made subject to collective will. An other interesting theory about the origin of man’s social behaviour is the one holded by Herbert Spencer (1896) and others after him like Oswald Spengler his “The Decline of the West” (1918-1923). It’s the so called “Organismic Theory”

1 Retrieved on http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0058%3Abook%3D1%3Asection%3D1253a (Accessed 24 March 2016).

| 3. SENSE OF COMMUNITY

according to which the society can be likened to a physical organism that exhibits the same kind of unity that an individual organism shows, and it is subject to similar laws of development, maturity and decay. The limbs and organs would be the different associations and institutions. Since individual and his society are one, in order to keep society safe and alive, each individual operate in a collectively way in the interest of society. Just as a biological organism cannot function healthily if any part of it is weak or strained, a society too depends on the harmonized activities of all individuals. Many sociologist don’t agree with this theory because an human individual is not an organic cell but he has a self. Contrary to a mere cell, an individual has the possibility to think for himself independently of society. Other theories relating the origin and the nature of society include the one connected with man’s “Herd Instinct” and the concept of the “group mind” mantained by the english psychologist W. Mc Dougall (1920). The “Herd Instinct” theory explain the tendency of man being social animals to herd together and to suffer in case of isolation. Man has the capacity to react in relation with the attitudes of others in the same society. According to the situation te reaction could be friendly or hostile. This is because man has an inborn quality to change himself to his social environment. Starting from this point, some sociologists assert the concept about the capability of man to establish a definite mode of relationshp with his fellow beings. From the ancient greek philosophers to the nowadays sociologists this topic was analysed in deep but never arriving at a univocal solution. In the final analysis, one would say that in social relations neither the society nor the individual has its own distinct importance, for one is manifestly linked with the other. While society as a

unit has its importance, the individual has no less significance in the context. Hence, the society exists for the individual as much as the individual exists for the society. Following this assumption and mentionig again the Aristotle thought, the interdependence of the individual and his social heritage is fundamental. In fact individual personality is strictly connected to the society and supported by the social heritage. Closed to the heritage concept, there is the important role of the history in the socialization process. The sequence of differents generations make the society stable and the individual consciuos of his “social self” and his position in the social context. Futhermore the possibility for individual of interacting with others since the childhood, is very important and determinant for his development and personal growth as human being. This should emphasize the importance of socialization in developing individual behaviors. This process bring with itself the origin of individuality. The individuality makes the society an eterogeneus field, rich and flourishing. If all men were to think alike and to work alike, progress in the society would be halted. In this scenario, individuality becames the key for social improvement instead of standardization that makes society static. In the final analysis on one side society is a condition for the development of individuality and on the other individuality can help the improvement of society in more than one way. 2

2 Retrieved on http://www.sociologydiscussion.com/society/man-as-a-social-animal/2419 (Accessed 24 March 2016).

SENSE OF COMMUNITY 3. |

3.2 INNATE SENSE OF COMMUNITY The sense of belonging to a specific community in which identify his behavioral and cultural roots is related to the innate herd instinct of human beings. Many researchers have participated in the evolution of a theory of community, specifying the elements that, working together, create the experience of sense of community. One example is the research realised by the psychologists Riger and Lavrakas (1981) in which the sense of community is reflected in neighbourhood attachment. They found two empirically distinct but correlated factors called “social bonding” and “behavioral rootedness”. The first one, the social bonding, is related to the ability to identify neighbors, feeling part of the neighbourhood, and number of neighbourhood children known to the respondent. Instead the second one, behavioral rootedness, refers to years of community residency, whether one’s home is owned or rented, and expected length of residency. Starting from these factors, Riger and Lavrakas identified four “meaningful and distint group of people”: young mobiles (low bonded, low rooted), young participants (high bonded, low rooted), isolates (low bonded, high rooted), and established participants (high bonded, high rooted). In the same year Riger, LeBailly and Gordon elaborated another research (1981), examining the relationship between community involvement and level of residents’ fear of crime. The result was the identification of four types of community involvement: feelings of bondedness, extent of residential roots, use of local facilities, and degree of social interaction with neighbors. Despite the weakness of the study, the theory attest to the force of sense of community in the lives of neighborhood residents. An other theory about sense of community was theorised by Ahlbrandt and Cunningham in 1979. In this hypothesis the sense of community is viewed as an integral contributor to one’s commitment to a neighbourhood and satisfaction with

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it. In fact the on field research demonstrated that those who were most committed and satisfied saw their neighbourhood as a small community within the city, were more loyal to the neighbourhood than to the rest of the city, and thought of their neighbourhood as offering particular activities for its residents. Thanks to Ahlbrandt and Cunningham, the term “social fabric” was coined to capture the “strengths of interpersonal relationships” as measured through different types of neighbor interactions. In the 1985 Bachrach and Zautra studied the coping responses to a proposed hazardous waste facility in a rural community. They found that a stronger sense of community led to problem-focused coping behaviors and had no bearing on whether emotion-focused coping strategies were applied. A path analytic model showed that problem-focused coping contributed strongly to the level of one’s community involvement, and the authors concluded that stronger sense of community may lead to a “greater sense of purpose and perceived control” in dealing with an external threat. Bachrach and Zautra reported that they used a “brief, but face valid” sense of community scale on the basis of questions developed by Kasarda and Janowitz (1974) and Rhoads (1982). Their measure included seven items: feeling at home in the community, satisfaction with the community, agreement with the values and beliefs of the community, feeling of belonging in the community, interest in what goes on in the community, feeling an important part of the community, and attachment to the community. All those theories represent a good starting point and contribution to understand what sense of community deeply means. However they present some discrepancies between real and ideal level of sense of community and in demostrating the relationship between sense of community and an individual’s ability to function competently within it. Starting from the assumption that the sense of community exists and that operates as a force in human life, David W. McMillan and David M. Chavis (1986)

found a way to describe its nature. They adopted the different meaning of sense of community theorised by Gusfield (1975), distinguishing between the territorial and geographic notion of community (neighbourhood, town, city...) and the one concerning to “the quality of character of human ralationship, without any reference to location” (Gusfield, 1975, p. 16). McMillan and Chavis’s theory can be applied equally to territorial communities (neighbourhood) and to relational communities (professional, spiritual…). McMillan and Chavis’s definition has four elements: The first element is membership. Membership is the feeling of belonging or of sharing a sense of personal relatedness. To summarize, membership has five attributes: boundaries, emotional safety, a sense of belonging and identification, personal investment, and a common symbol system. These attributes work together and contribute to a sense of who is part of the community and who is not. The second element is influence, a sense of mattering, of making a difference to a group and of the group mattering to its members. Communities have to appreciate individual differences, even if the power and the influence within a community is unavoidable. The influence, bringing consensual validation between members of the same community, provides some balance to the contentions about group cohesiveness and conformity, interpreted in his positive sense. The third element is reinforcement: integration and fulfillment of needs. This is the feeling that members’ needs will be met by the resources received through their membership in the group. At the origin of this element there is the assumpition that people do what serves their needs and usually needs are similar if culture and values are shared. Thus people might be better able to satisfy these needs and obtaining the reinforcement they seek, joining together. The last element is shared emotional connection, the commitment and belief that members have shared and will share history, common places, time together, and similar experiences. This is the feeling one sees in farmers’ faces as they talk about their home place, their land, and their families. In summary sharing values is the

definitive elements for true and strong communities. Those are communities able to offer members positive ways of interacting, important events to share and ways to resolve them positively, opportunities to honor members, opportunities to invest in the community, and opportunities to experience a spiritual bond among members. In a sentence, the proposed definition is as follows: Sense of community is a feeling that members have of belonging, a feeling that members matter to one another and to the group, and a shared faith that members’ needs will be met through their commitment to be together. (McMillan, 1976) Because of the difficulties to describe the interworking of the four elements of sense of community in the abstract, the authors explained their theory through examples (the university, the neighborhood, the youth gang…). Here is reported the explanation of how the sense of community elements work in a collective situation as the neighborhood. “Consider a community organizer, whose prime task is the creation of sense of community. First, he talks to people in an area to find out their problems and concerns, that is, what would reinforce them and motivate them to work together (integration and fulfillment of needs). When a common concern emerges (i.e. something they all seem to need, such as a safe neighborhood), the organizer begins to conceive of ways in which the residents can work together to meet their need. Many of the residents have been victims of muggings, robberies, and assaults. Those who have not been victimized are ruled by their fear of becoming a victim. Fear of further victimization is a shared valent event. The community organizer calls a meeting of concerned neighbors with an announcement that explains whom the meeting is for. This sets the boundaries for belonging. At the meeting, the organizer introduces neighbors to one another and tells them about their common concerns. Members elect officers, set up bylaws, and begin to plan and implement programs (influence and salient event). They talk and plan for getting to know one another, and watching out for one another’s safety

SENSE OF COMMUNITY 3. |

emerges as a common theme. Other meetings are planned around buffet suppers at members’ homes (another valent event). People arrange travel to and from these meetings in groups for safety. Neighbors begin calling the police when they see strangers in the area, and intruders breaking into homes are caught (influence). The success continues with neighbors feeling a greater sense of community. In this idealized story, one can see how the elements of sense of community were used by the community organizer. He studied needs and thought about their possible integration. He called a meeting of residents, thus creating a potential for membership, and there asked members to discuss the shared valent event of victimization and fear. This led to the formulation of a structured plan and a successful outcome. Members began to accept others’ needs as influencers of their behavior, leading to conformity (going out together in groups)” (McMillan, 1976, pp. 16-17). 3

3 Retrieved on http://iranarze.ir/wp-content/uploads/2015/01/Sense-of-Community.pdf (Accessed 24 March 2016).

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man is not born human but to be made human R. E. PARK, 1921

3.3 CONCLUSION This digression about man as social animal and about the sense of community and collectivity establishses the basis of my thesis. The necessity for people to create network to solve their problems and to satisfy their needs is at the origin of the idea of society. The collaboration is more than a social condition, is a precious value especially today. Since the past centuries, men created the possibility to share ideas, belief, feeling and so on in order to gain benefits. But this kind of benefits network can works just in a trustful and safe enviroment in which people can identify themself. This is one of the biggest problem in our society, the trust connection is always more weak and individuals are alone and solitary tiles without a common cultural heritage in chaotic cities without boundaries between themself and the rest of the world. The heterogeneity of culture, tradition, habits that characterize our society, might constitute an enrichment or an impoverishment because it might demage the wires of social heritage. Starting from this statement, the aim of the thesis is the analysis of a milanese suburban multicultural neighbourhood and the creation of a free collective and collaborative space able to give to people a new chance for the creation of a useful networking and sharing system. The idea is designing a space suitable for neighbors inside the old farmhouse Cascina Torrette di Trenno which is destined to be part of a cultural centre in Milan. Giving back to the building a useful function, giving back to the neighbors an historical and symbolic collective space, giving back to people the possibility to restore broken relationship: these are only a few of the main aims of this project, especially today. Since the past centuries, men created

the possibility of sharing ideas, belief, feeling and so on in order to gain benefits. But this kind of benefits network can works just in a trustful and safe enviroment in which people can identify themself. This is one of the biggest problem in our society, the trust connection is continuosly weaker and individuals are alone and solitary tiles without a common cultural heritage in chaotic cities without boundaries between themself and the rest of the world. The heterogeneity of culture, tradition, habits that characterize our society, might constitute an enrichment or an impoverishment because it might damage the wires of social heritage. Finally, the aim of the thesis is the analysis of a milanese suburban multicultural neighborhood and the creation of a free collective and collaborative space able to give to people a new chance for the creation of a useful networking and sharing system. The idea is designing a space suitable for neighbors inside the old farmhouse Cascina Torrette di Trenno which is destined to be part of a cultural centre in Milan. Give back to the building a useful function, give back to the neighbors an historical and symbolic collective space, give back to people the possibility to restore broken relationship: these are only a few of the main aims of this project.

SENSE OF COMMUNITY 3. |

4. cultural factory AN INDEPENDENT COMMUNITY ORGANIZATION

4. CULTURAL FACTORY AN INDEPENDENT CULTURAL ORGANIZATION

4.1 ART AND CULTURE ROLE IN THE SOCIETY 1 “What’s the meaning of communication? How do we communicate? How do we actually realize our human potential? That is cognitive and emotional and that’s where the art and culture come in”. It’s based on the words of Leon Botstein, music director, principal conductor american symphony orchestra and Open Society Global board member (Leon Botstein, 2015). 2 Based on the assumption that my thesis is about the design of a cultural centre inside Cascina Torrette di Trenno in Milan, I’d like to start talking about the role of art and culture in society: In which way art represents human begings and how people express their feelings and ideas through many forms of arts. In the words of Leonard Benardo, regional director for Eurasia Open Society Foundation, “art represents a form of individual expression that is a form of bulwark for any democratic society. Art is representative of human engagement with ideas” (Leonard Bernardo, 2015). 3 So, art in all its forms has always been the signal of a free and open society: artistic freedom of expression is absolutely fundamental. If people can’t just say and do and express what they feel, It means they are in deep trouble and far from dremocracy. Art and culture are something very closed with people because they grow up in parallel with mankind and for this reason they can tell the entire history of human begings. For many, art and culture are synonymous. However, a short definition of culture could be: the outward manifestation of human life. This is life as the lived experience, the glue that holds everything together, the space between us and the rest of the world that we need to continually create in order to make some sense to the universe and

our place within it. Anything that becomes manifest by our actions is the outcome of culture: the built environment, modes of transport, food production, technology and all the other formations and results of our creativity and being, including the more ephemeral and esoteric outcomes such as religion, philosophy, and, indeed, art. So, we can consider art as an outcome of culture, a product of our response to our lived lives. As such it is also an indicator and signposting of culture. This is very important to understand who we are, where we have come from and where we are going to. It is also important to point out that art is a generic term for many forms of creativity and not just visual art (or painting, as is sometimes understood to be the case) but also films, books, plays, photography, poetry, dance and many others are all art forms. So are graffiti, hip hop, street fashion, cooking, and all the other creations of living, if we remove the western idea of a hierarchy. Finally, art and culture are innate conditions in human begings and are strictly connected with their daily life. Today understanding the importance of art and culture in fundamental to improve our life inside society, helping planners from all over the world in the use of creative strategies to achieve economic, social, environmental and community goals. In fact art and culture can contribute to: - strengthening cultural values and preserving heritage and history - building community character and sense of place - enhancing community engagement and participation - enhancing economic vitality As mentioned above, art, culture and creativity have many different aspects and

1 Some information retrieved on https://www.planning.org/research/arts/briefingpapers/overview.htm (Accessed 24 March 2016). 2 Retrieved on https://www.opensocietyfoundations.org/voices/role-arts-and-culture-open-society (Accessed 24 March 2016). 3 Ibidem.

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Dimension of Arts and Culture, Grap. 2 by American Planning Association (2011)

dimensions of arts and culture

grap. 2

DEGREE OF PROFESSIONALISM Professional of Formal - Vocational or Informal

faces even if they remain linked to each another. There are several forms of arts: performing, visual and fine arts as well as applied arts including architecture and graphic design, but also crafts, film, digital media and video, humanities and historic preservation, litarature and poetry, folklife and other creative activities. “Arts” alone can be classified into 13 categories characterized by their own features and peculiarities: acting, announcing, architecture, fine art, direction, animation, dancing and choreography, design, entertainment and performance, music and singing, photography, production and writing (Gaquin, 2008). “Culture” can be defined as the arts as well as the intangible shared beliefs, values, and practices of a community (Houston 2007). Finally, “creativity” is sometimes used to describe the common elements of arts and culture, but this term encompasses other fields as well. I’d want to use the Bureau of Labor Statistics definition of creativity, which encompasses the development, design, or creation of “new applications, ideas, relationships, systems or products, including artistic contributions.” As a whole, many forms of arts and culture naturally manifest as aspects of daily human activity (NACCCE, 1999; Robinson, 2007). These typology of artistic and creativity activities identify the daily life of everyone. In fact people pursue artistic and creative expression through a variety of outlets: formal theatrical performances, sculptures, paintings, and buildings, as well as the less formal arts, music and food festivals, celebrations and informal cultural gatherings, pickup bands, and crafts groups. Together, these formal and informal, tangible and intangible, professional and amateur artistic and cultural activities constitute a community’s cultural assets. These activities, which encompass a diverse set of locations, spaces, levels of professionalism and participation, products, events, consumers, creators, and critics, are essential to a community’s well-being, economic and cultural vitality, sense of identity, and heritage. The formal, or professional, arts include people who are working as professional

Creators or producer is recognized as artist by peers, has received advanced training in the art form, makes at least a portion of his or her living though artwork, or is presented or exhibited by arts specific venue

Creator producer is engaged in project solely for purposes of expression (e.g., ethnic, religious, personal) and enjoyment

TYPE OF PRODUCT OR ACTIVITY Tangible - Intagible Painting, sculpture, monument, building, multimedia, or other permanent or temporary physical work of art

Event, performance, or gathering (temporary activity); oral history or cultural expressions passed on from generation to generation

LOCATION AND SPACES Specific-purpose venue - Non arts venues Museums, theaters, galleries, community art centers, music clubs, etc.

Schools, churches, parks, community centers, service organizations, libraries, public plazas, restaurants, bars, shops, businesses, homes, etc.

LEVEL OF PARTICIPATION AND INVOLVEMENT Creator - Consumer Creator (responsible for the creation of the artistic, cultural, or creative expression)

Audience member, supporter, or critic (indirectly involved or associated with the artistic or cultural activity)

CULTURAL FACTORY 4. |

Connections of Planning goals to Art, Tab. 1 Culture and Creativity, by American Planning Association (2011)

artists in arts-specific facilities (locations: theaters, arenas, museums, and galleries), while the informal or vocational arts include a variety of community and individual activities (locations: local community and recreation centers, businesses, libraries, clubs, parks, schools, and other local gathering places). So, basically people partecipate in arts and culture at varying levels of skill and engagement. Participants include creators, consumers and supporters and critics. Some create, while others listen to, watch, teach, critique, or learn a cultural activity, art form, or expression. Some are professional artists, designers, and inventors, while others engage informally in expressive activities or create innovative tools, relationships, or products. The field as a whole can be represented within a framework that has four main aspects (Fig.1): - degree of professionalism - type of product or activity - locations and spaces - level of participation and involvement In the diagram below I have synthesized these aspect by listing also the areas of competences. However the arts and culture sector is continually developing and changing. This makes definitions uncertain and variable. Further, the ways in which arts and culture activity is defined, manifested, and valued vary somewhat by locality and community. At this stage, it seems clear that art and culture play an important role fo the society. Going backwards the greek philosopher Platone, in his opera Repubblica, gave exactly to philosophers, rational guardian of culture and intellect, the arduous task of govern the State and saw in it the only solution to avoid chaos and conflicts inside the Polis. Today, as in the past, itâ&#x20AC;&#x2122;s very important that planners utilized art and culture as a guide to bring benefits to the community. The potential contributions of art and culture to social, economic and environmental aspects of community life, are incredible. In fact art and culture provide a medium to:

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- preserve, celebrate, challenge, and invent community identity - engage participation in civic life - inform, educate, and learn from diverse audiences - communicate across demographic and socioeconomic lines Artistic and cultural activities can be used to engage the public more fully in planning practices, such as: - long-range community visioning and goal setting - plan making - reviewing development and infrastructure projects - supporting economic development - improving the built environment - promoting stewardship of place - augmenting public safety - preserving cultural heritage and transmitting cultural - values and history - bridging cultural, ethnic, and racial differences - creating group memory and identity (Jackson and Herranz, 2002) To sum up, itâ&#x20AC;&#x2122;s possible to synthesize the role of art and culture in the society, describing their contribution to: - community heritage and culture - community character and sense of place - community engagement - economic vitality The analysis is extracted from a research conducted by American Planning association.

CATEGORY

SOCIAL

ECONOMIC

ENVIRONMENTAL

COMMUNITY

PLANNING GOALS

- Preserve the historic and cultural heritage of a place - Provide a better understanding and an appreciation for a community’s cultural diversity - Facilitate connections among or reduce barriers between diverse groups (e.g. age cohorts, ethnic group, socio economic classes)

- Develop and expand upon local economic opportunities for members of the community - Ensure quality affordable housing for all members of the community - Attract businesses, new residents and visitors - Provide or facilitate public transportation

- Preserve and enhance a place’s local identity and character - Preserve and protect the community’s parks and open space - Restore, protect and preserve the community’s waterways - Implement sustainable practices - Encourage healthy practices, including bike/ped-friendly travel, outdoor activities, etc.

- Engage the public in transparent planning process to assess the current and future needs of the community - Promote community pride and stewardship of place

sample activities

- Engage community residents in a PhotoVoice or storytelling exercise to identify shared needs and values - Create and unveil a community mural or other form of public artwork to validate or celebrate the past - Organize a community festival to celebrate local cultural diversity - Provide arts and cultural education programs, such as workshops, interactive classes and performances, to encourage an understanding and awareness of a community’s historical and cultural context - Use cultural and noncultural venues to facilitate participation from different parts of the community

- Create and provide maps, sign and other products to educate consumers about locally owned and operated community businesses - Use public art within streetscape improvements to increase traffic to underutilized corridors - Provide cultural assets in new affordable-housing developments - Encourage use of public transit, including ensurin safety - Create live/work spaces - Create incubator spaces for individual entrepreneurs, including artists

- Integrate public art in transportation, parks and open space, water, and sewer infractructure - Engage the community in a multidisciplinary exploration of environmental degradation and preservation through community performances and festivals - Inventory, assess and map a community’s artistic and cultural characteristics - Encourage zero-waste practices at festivals, public venues, restaurants, hotels etc. - Locate or develop performance spaces and public gathering places on public transportation routes - Include sustainable practices incentives in sitereview regulations - Creatively reuse and preserve historic structures

- Use interactive, online community forums - Empower and engage radically and ethnically diverse group of youths and sdults to participate in planning decisions through innovative tools such as planning decisions through innovative tools such as drawing, sculpting, modeling and painting - Engage artists to provide or help develop a vision

Actors

- Planners - Nonprofit organizations - Neighbourhood groups - Artists - Individuals - Funders - Policy makers

- Planners - Economic developers - Engineers - Business investment districts - Nonprofit organizations - Artists - Financial institutions - Policy makers - Residents - Visitors and tourists

- Planners - Design professionals - Nonprofit organizations - Artists - Environment planners - Developers and builders - Policy makers

- Planners - Nonprofit orgnizations - Local businesses - Neighbourhood groups - Artists - Individuals

TAB. 1

CULTURAL FACTORY 4. |

4.1.1 COMMUNITY AND CULTURAL HERITAGE A sign of a healthy community is its simultaneous ability to preserve and invent its culture, that is to conserve its history and heritage and at the same time develop new expressions for current times. Arts and cultural activity and the leadership of artists, historians, folklorists, anthropologists, planners, and other community leaders play important roles in preserving the history and heritage of a place, as well as easing tensions and encouraging respect for the changing cultural landscape. Despite the importance of history and heritage, preservation is rarely seen as a potential basis for innovation and advancement. As a result, too often sufficient resources are not dedicated to preserving significant meaningful spaces and objects, documenting stories from elders, and recording a communityâ&#x20AC;&#x2122;s contemporary cultural practices. In efforts to strengthen cultural vitality and preserve heritage and history, planners should consider four key points: - Compiling the history and heritage of a place requires time, resources, and commitment. There may be conflicts among community narratives, and these may take time to resolve. - The involvement of trusted community-based organizations, such as churches, schools, art centers, ethnic associations, and community social service agencies, can be key to the advancement and preservation of culture and heritage. - It often takes an outsider to catalyze identification of and discussions about important aspects of a community that some residents might take for granted. - Using venues such as parks, open spaces, and public streetscapes as places for arts and cultural expressions can be an effective way to integrate history and heritage into the everyday lived experience.

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4.1.2 COMMUNITY CHARACTER AND SENSE OF PLACE Artistic, cultural, and creative strategies help to reveal and enhance the identity, the unique meaning, value, and character, that underlies the physical and social form of a community. This identity is reflected through the communityâ&#x20AC;&#x2122;s character or sense of place. This is not a static concept, rather it evolves and developes over time, reflecting the spectrum of social values within and around the community. As part of an overall strategy to explore community context, embrace and nurture community diversity and uniqueness, and build upon and celebrate community character, planners can utilize artistic and cultural inventories, community visioning processes, design guidelines, arts and culture programming, master plans, and public financial investments in urban design and placemaking. All of these elements require the consideration of all community interests in key decision-making processes, the integration of arts and cultural resources in a contextual civic framework, and the recognition and balancing of the inherent, conflicting nature of past, present, and future social values. 4.1.3 COMMUNITY ENGAGEMENT Community engagement is a process of relationship building that encourages both learning and action, as well as the expression of opinions about a place-based issue or program. A higher level of community engagement in planning offers vibrancy and innovation by strengthening the level of public commitment and making more perspectives available to decision makers. Both planners and community leaders already promote community engagement through a variety of traditional tools, including public opinion surveys, visioning workshops, asset-based planning, town halls, meetings, and public hearings. However, creative tools are now also being used more and more to promote community engagement with planning activities and goals. The use of creative tools, such as visual-art techniques, storytelling,

festivals, exhibits, dance, spoken word, PhotoVoice, music, performances, webbased applications and community gatherings, emphasizes receptiveness to input, genuine acknowledgment of feedback, easy participation, and the development of relationships. Creative tools could be very usefull because strengthen the understanding and exploration of community values, increase stakeholders involvement and better engage the public in community and urban design projects. 4.1.4 ECONOMIC VITALITY People are increasingly recognizing the connection between the activity of the arts and culture sector and the economic vitality in a neighbourhood or community. High concentrations of creative enterprises and workers in a geographic area may provide a competitive edge by elevating a communityâ&#x20AC;&#x2122;s quality of life, improving its ability to attract economic activity, and creating a climate for innovation to flower. Communities in which arts and culture activities of all types flourish are important for the recruitment and retention of a skilled and educated workforce in a city or region. The presence of arts and culture in a specific neighbourhood or community location can increase attention and foot traffic, bringing in visitors and attracting more development. Furthermore, formal and informal training in the arts can abet the development of skills valued in the global economy such as strong oral and written communication skills, precise and high-quality work performance, ease in working in teams and ensembles, comfort in new and innovative situations, and the ability to work well with people from diverse cultures. The activities of the arts and culture sector and local economic vitality are connected in many ways. Arts, culture, and creativity can improve a communityâ&#x20AC;&#x2122;s competitive edge, create a foundation for defining a sense of place, attract new and visiting populations, integrate the visions of community and business leaders and

contribute to the development of a skilled workforce. To pursue economic development projects with a creative approach, there are four key points to consider: - Economic development is enhanced by concentrating creativity through both physical density and human capital. By locating firms, artists, and cultural facilities together, a multiplier effect can result. - The recognition of a communityâ&#x20AC;&#x2122;s arts and culture assets (and the marketing of them) is an important element of economic development. Creatively acknowledging and marketing community assets can attract a strong workforce and successful firms, as well as help sustain a positive quality of life. - Arts and cultural activities can draw crowds from within and around the community. Increasing the number of visitors as well as enhancing resident participation helps build economic and social capital. - Planners can make deliberate connections between the arts and culture sector and other sectors, such as tourism and manufacturing, to improve economic outcomes by capitalizing on local assets.

CULTURAL FACTORY 4. |

4.2 CULTURAL CENTRES HISTORIC CONTEXT We’ve seen how art and culture have always been important factors for the history of a Country, for the growth of community and for the economic flourishing. Art and culture bring values and express people feeling in a specific historical context and contribute to the creation of a place identity. In many occasion art was the only way for people to tell their needs, troubles, to criticize and denounce the crisis of values. A good example is provided by the Pop Art in the second half of the last century, in America at first and then in Europe (in the ‘60s). Pop Art was the art of popular culture. It was the visual art movement that characterised a sense of optimism during the post war consumer boom of the 1950’s and 1960’s. It coincided with the globalization of pop music and youth culture. Pop Art was brash, young and fun and hostile to the artistic establishment. It included different styles of painting and sculpture from various countries, but what they all had in common was an interest in mass-media, mass-production and mass-culture. The word ‘POP’ was first coined in 1954, by the British art critic Lawrence Alloway, to describe a new type of art that was inspired by the imagery of popular culture. In Italy the Pop Art started to spread in 1964, durind the Biennale of Venice. However the most important representative pop artists were american: Andy Warhol, Claes Oldenburg, Tom Wesselmann, James Rosenquist, Roy Lichtenstein and others. In fact Pop Art is particularly an expression of the american consumer culture and society, dominated by the mass media images, the cinema, the mass products, the colored advertisements in the urban landscape and so on. This inevitably leads the Pop Art to document the radical change of values because of incessant consumer. In this same context at the end of the XX century, all around the world many young people, writers, poets, musicians and artists in general, aware about the society problems highlighted especially by Pop Art trend and sharing the same values, started to meet up creating independent cultural movements. These actions took

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place in the vacuum that often exists between citizens and the state, between vested interests and communities, between cultural development and consumerism. It was about making these values manifest, where the political or social status quo had failed to take responsibility, failed to act or was actively opposed to cultural democracy. The result was the creation of several cultural centres all around the world, spaces in which people meet for a given purpose and to participate in cultural activities. A lot of them born inside old and abandoned industrial buinding, tangible sign of the past uncontrolled industrialization. This was illegal, of course, but often possible because these places had fallen into an ownership vacuum. In many cases the local authority had acquired the land and didn’t know what to do with it. By definition, a lot of these post-industrial buildings were in abandoned areas of cities, such as docklands or previous manufacturing sites. Examples of such centres are: Ateneu Popular Nou Barris (Barcelona); Kaapelitehdas (Helsinki); La Friche la Belle de Mai (Marseille); Melkweg (Amsterdam). As these centres survived their battles with the authorities and became established, they also contributed to the revival of the neighbourhoods where they were based and provided inspiration for local authorities and business to invest in cultural centres as ‘loss leaders’ for urban rejuvenation. The reason why activists and artists decided to reuse these old buildings instead of a new comfortable one is not just because they were abandoned and cheap, but there is something more than necessity that attracts them. This kind of attraction is related to our industrial heritage, the history of communities and, by association, the history of grassroots movements. In the words of Sandy Fitzgerald “most of our recent ancestry is rooted in the industrial revolution, in the factories and depots, storehouses and mills of mass manufacturing and distribution. It is in and around these places that people lived out their lives, fought for and built society from: the ground up. This is where our modern cities come from, fashioned from the labour, skill, ingenuity and creativity of the working people. Here the principles of the labour

Untitle. The Velvet Years: Warhol’s Factory, Fig. 1 photo by Stephen Shore (1965-1967)

movement were forged and the ideas of equality, solidarity and international networking were advocated. Similarly, the social and cultural lives of workers and their families revolved around these hubs of industry with the central human need for individual and communal expression and communication at their heart, forming their own neighbourhoods and adding their own amenities. For almost two centuries these neighbourhoods grew up around industrial buildings and this relationship is ingrained in the DNA of cities and citizens” (Sandy Fitzgerald, 2014, p. 8 ). 4 That were the ‘60s and the ‘70s, the years of the end of the great manufacturing age and the buildings of the industrial age were emptied. In contrasts to what happened in industry, these places seemed to attract new generations who had different ideas for their use. Linking this phenomenon with the Pop Art movement described above, it seems clear that the first symbolic transition from the old to new was called The Factory. This, of course, was Andy Warhol’s studio founded in 1962 at 231 East 47th Street, Manhattan. There are clear similarities between the architecture and the most concomitant arts or cultural centres. The common features were: brick walls, iron metalworking, surface pipes, mechanical boxes and lots of support pillars. In this way as the idea of industrialization was a benefits for everyone able to work, so the idea of culture was anymore reserved just for ruling classes but everyone had an equal right to a cultural voice. This certainty brought a new youth movement to find places to make the idea manifest. The abandoned industrial sites were called back into service, as factories of a different kind: culture factories. Below I’ll describe three particular examples of independent cultural centres, interesting especially for their historical background.

4 Retrieved on http://teh.net/wp-content/uploads/2015/01/design-handbook.pdf (Accessed 25 March 2016).

Fig. 1

our ancestry is rooted in the industrial revolution s. fitzgeralg, 2014

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Melkweb, Amsterdam Fig. 2

4.2.1 CASE HISTORY: MELKWEB, AMSTERDAM One of the original cultural centres was Melkweb in Amsterdam, a place that have inspired many people. It all started in 1970, when a cultural youth project took residence in a vacant milk factory for the summer. Amsterdam at that time was considered a â&#x20AC;&#x153;cosmic centreâ&#x20AC;? of the world. From all corners of the earth young people came together in this new cultural hub that since the beginning combined different art disciplines. Melkweg has permanently been open as a cultural centre since 1973, seeing many changes over the last 40 years: the building was adapted to further suit its new function, a large concert hall was added, and programming became more important and professional. Today, the no longer milk factory, houses two concert halls, a cinema, a theatre, and an exposition space and attracts more than 400,000 visitors each years. Melkweg has always been a kind of biotope of a variety of subcultures: from hippies to punk, from grunge to hip hop. Its rich history has made Melkweg known across the globe as a venue where new artists and styles can take the stage and where world famous names performed before making their big breakthrough. Melkweg is a non-profit organization, a fundation with cultural and social objectives. Since its establishment, Itâ&#x20AC;&#x2122;s a stronger believer in international collaboration and therefore an active member of different networks and projects with cultural institutions from other countries in Europe. An example is the collaboration with Liverope, the live music platform for new Europe talent, and another one is the contribution to the creation of Trans European Halles (1983), a network of over 50 independent cultural centres throughout the whole of Europe.

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Fig. 2

Metelkova, Ljubljana Fig. 3

Fig. 3

4.2.2 CASE HISTORY: METELKOVA, LJUBLJANA Metelkova originally was a military barracks occupied by the anti-war campaigners in 1993. This barracks in the centre of the city had recently been abandoned by Yugoslav troops but its history as a place of oppression dated back to the AustroHungarion Empire, through the Second World War and the Nazi period and into the Communist era. It symbolised everything tha was dark and painful for Slovenia. The activists who entered the site on Sempember 1993 had a vision to change the use and the nture of this forbidding place by creating an autonomous cultural centre. And so began a struggle with the new Slovenian state, whohad more commercial plans in mind for the complex. Eight months later Trans European Halles joined in this struggle when some Metelkova exponents travelled to the network’s meeting at Rote Fabrik in Zurich. In September 1995 a network’s meeting took place at Metekova itself, adding international weight to its campaign. In the end, he tenacity of the squatters and their supporters won through and “Autonomni Kulturni Center Metelkova Mesto” is now a collection of facilities for creativity in all its forms. 4.2.3 CASE HISTORY: REX B92, BELGRADE As the Balkan wars raged and the Milosevic regime controlled all forms of public media, an independent radio station called B92 started to broadcast. This station represented an alternative and substantial constituency who were campaigning for freedom and peace. In September 1994, B92 decided to open an independent cultural centre in Belgrade, an outlet for all forms of self expression, itself an act of defiance in a totalitarian state. REX came into existence and was immediately under suspicion, especially as it strove to have international links, joining Trans Europe Hallen in 1998. As tension between Serbia and the West escalated, REX was raided, all its equipment taken and it was closed down. REX continued to operate from a temporary location,

producing programmes, some in close cooperation with TEH like the Culture, Art and Conflict debates and publication. Ironically, during this time REX not only linked with City Art Centre in Dublin to relay continuous streaming via internet (an early use of new media) on the danger and devastation inflicted on ordinary citizens but also to balance the mainstream media representation of Serbia as only having a militant intent, when REX and B92 could show a sizable resistance to militancy through a younger generation of Serbians. This live stream was redistributed to other TEH centres and media outlets. It wasn’t until the fall of Milosevic that REX was allowed back into its home and all its property was returned.

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4.3 INDEPENDENT CULTURAL CENTRE FEATURES 5 The establishment of a Cultural Centre is not so easy. There are many factors that could determine the success of the project: environmental problems, political difficulties, economic scarcity. In general an Independent Cultural Centre needs one or more lenders???, a building in which place and contestualize its actions, an understandable vision, mission and set of values, a defined cultural programme, an efficient internal structure and organization able to menage every aspects of the company and, of course, money. If making money is not the primary reason for an organisation (civic, political, charitable, religious, or otherwise ideologically-driven), the defining of a vision is more complex. And, in the arts and culture field, is very complex indeed. According to the “Independent Cultural Centres – Leadership Training Handbook” compiled and edited by Sandy Fitzgerald (2008), Cultural Centre have some specific features that I’m going to analyze. Defining an organization’s vision is the most important task for any manager or project leader, and should be completed in advance of producing programms, policies or plans. In fact the more it’s possible to describe what the future of an organization may look like, the more likely it is that this future will become a reality. A vision usually helps to map a route necessary to realize short-, medium- and longterm goals: from securing resources to communications, from attracting funders to deciding the partners. Indeed, the mission will state how the vision will be achieved and the values that inform your vision. So once the vision and the mission are in place, all the future plans should be in support of these stated objectives. The second important feature for an Independent Cultural Centre is the place and the context in which it operates. Independent Cultural Centres, by definition, have a building or complex of buildings and/or land where they house their activities. Even if the situation varies form case to case, the management and maintenance of property is similar, no matter where in the world the property is located. Issues of

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suitability, services, access, usage and the like, have a universal resonance and can benefit from shared experience. The most important issues to built an Independent Cultral Centre are: - suitability of housing (even if most Independent Cultural Centres have buildings that are acquired more through accident or chance, than by design) - models of building types (investigation for ideas and template researching other centres can avoid problems and provide answers) - expertise (few people have any real experience in designing cultural centres. It’s very important that the design of a cultural centre has to originate from the planned programme and activities and cannot be divorced from this reality) - venue (the design of a public performance space could attract people and developed their creativity but could also tends to eat resources and became the focus of the entire project) - openness (the building has to be open and invite people) - accessibility (make sure that children, families, people with disabilities, older people, indeed all of the public, will find the building easy to navigate and use) - people-centered (once a person enters inside a cultural centre, it’s important they feel safe and cared for) - sustainability (a cultural centre should have a commitment to and even a leadership role in, good design and usage with regard to questions of sustainability and environmentally friendly practices). The sustainable concept needs to be further developed because it represents the third fundamental feature for a cultural centre. In fact cultural centre should be models of practice and leaders in the field of sustainability. One of the strongest threads that links the original Independent Cultural Centre movement in the western world of the 1960’s and the present day is the commitment to working for a more sustainable world. In the middle of the 20th century these ideas were seen by the establishment as, at best, eccentric, and at worst, an attack on the

very foundations of capitalist economies. For many of the original Cultural Centres of almost fifty years ago, the issue of sustainability was to the forefront of their thinking. This arose because of a desire to change the very nature of the way people lived, particularly in a world recovering from the Second World War and facing into the threat of nuclear obliteration. These early, marginalised ideas of sustainablity have now come centre stage, as the effects of global warming begin to have an impact. In the 21st century this move towards sustainability is not only a new radicalism but also a fight for human survival. As such, cultural centres often are and certainly should be, at the vanguard of this movement for sustainability. For a long time culture was consider something separate and independent from the implementation of sustainable development. In fact the first Agenda 21s were written without including cultural issues into strategies for change, which led these texts to be charters for urban ecology rather than global sustainable development strategies. This recognition of the importance of culture has begun with UNESCO, UNO and UCLG (United Cities and Local Governments) meeting in Barcelona in 2004 to create an Agenda 21 for Culture. 6 The specific Agenda 21 arising from this Barcelona meeting makes culture a pillar for local development, supporting cultural diversity and peopleâ&#x20AC;&#x2122;s creativity. This document gives a frame to: - Formulate the commitment of cities towards cultural development. - Create a tool aiming at reinforcing the role of culture in local development. - Setting up a process which would enhance the role of cities and governments in the promotion of local and global cultural diversity.

5 This paragraph is written on the basis of http://www.asef.org/images/docs/799-Managing_ Independent_Cultural_Centers.pdf (Accessed 25 March 2016). 6 More information available on http://www.agenda21culture.net/ (Accessed 25 March 2016).

Clear analogies exist between cultural and ecological questions, as both culture and the environment are common assets of all humanity Agenda 21 for Culture Principle 2

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Another important aspect for an Independent Cultural Centre is to program its activities and its policy because a programme should reflect the vision and the mission of a centre. It’s possible dividing the programming in two function: “process-based work” and “public presentation”. The first one describes activities that people participate in and the second one represents attend as an audience. The participation heading accommodates many possibilities because an Independent Cultural Centre is as much a resource as anything else. People may participate to explore creativity in any number of ways: workshops, training courses, lectures, talks, studios, rehearsal rooms, office facilites, project development etcetera. On the presentation side, centres offer a platform for the public to see new artistic work not readily available on other stages or work that is sometimes consciously excluded from state or mainstream venues. The fifth element for an Independent Cultural Centre is the management and leadership although they are terms that tends to alienate arts and culture people. There is an huge difference between management to control and management to facilitate. Managing well is not in conflict with creative freedom, once the function of management is understood and integrated into the pursuit of the organisation’s goals. And management and leadership are bound together. For an Independent Cultural Centre, the whole operation and its way of functioning defines what it is and managing becomes facilitation, as much as leadership. More, management in itself can be creative and making sure to develop a working environment that is inclusive of all people, in an holistic way. So, participatory management process is important to an healthy organization. The next feature is related to money. I have already said that money represent a complicated issue for Independent Cultural Centres. This is probably because of the traditional notion that producing art for money in some way compromises the artist. This is compounded by the ‘anti-establishment’ origins of many independent cultural initiatives, which set out to greater or lesser

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degrees to change society and so cannot be compromised by ‘selling out’ or just selling. But money is only relevant in the context of its use. Money in itself is an abstract and is only important in the service of something. Being objective about ways of attracting and employing money as a tool to realise projects leads to a less ‘emotional’ attachment to money and more successful outcomes. In this way money become a tool, the more that the managing and spending of it is understood objectively as a way of achieving something, the better. In addition, there are many non-cash alternatives to supporting a project, such as sponsorship in kind (services and goods), sustainable energy development, new technology options, and so on, that may be considered instead of the pure finance-raising approach. The last one feature is about communication and networking. In the context of cultural organization, the term communication substitutes the notions of marketing, advertising and public relation that are all important characteristics of the programme of an organization but that are too closed with the idea of “selling a product”. Communications is about relationships and describes an activity based on mutual respect and equality, rather than one of exploitation, which marketing suggests. Having goals and values not based on simple monetary profit means that communicating ideas and forging partnerships that are based on concepts of cultural development and creativity, become central to any independent art group. Importantly, communications is both an internal and an external activity for a cultural organisation and the staff, volunteers, and participants of a centre, combined with the visitors, audience, and wider community, all make up the relationships necessary for a centre to thrive. The term networking is reated to the communication capacity of an organization. It could be formal and informal, according to the ways by which artists, arts managers, curators, and Independent Art Centres are linked and communicate. This can happen in many different ways, for example, artist residencies, hosting an artist in one’s home, artistic collaborations, festivals, conferences and so on.

4.4 INDEPENDENT CULTURAL CENTRES NETWORKS Network is a fundamental issue for an Independent Cultural Centre. It allows the sharing of knowledge, resources, experiences and the promotion of artists all over the world. That is the reason behind the establishment of many Independent Cultural Centres Networks, organizations able to facilitate the dialogue between different cultural centres and the spread of art in general. There are many examples both in Asia and Europe and I’d like to decribe some of the most important because of their history and influence in the world. The first one is the Intra Asia Network (IAN) in Taiwan. Even if it started quite recently (2005), have a fundamental role in Asia to coordinate and create network in cultural issues. It could be describe as an open source platform and loose consortium for cultural organisations. Its mission is to facilitate the artistic mobility of Asian cultural producers, practitioners, and creative people, through the development, promotion, and empowerment of cultural exchange projects. It wishes to initiate collaborations by mobilising knowledge and resources across Asia, facilitating the greater mobility of Asia’s cultural producers, practitioners, and creative people through the development, promotion and empowerment of artistin-residency and artist-in-community projects. The core values of IAN are that it is an autonomous, flexible and independent entity. Membership is free, and all the members share equally in the rights and responsibilities to further the network’s mission. Communications for the members and the general public is driven via a website, e-groups, blogs and other web-based resources. Regional workshops and conferences are planned as supportive opportunities, as funding allows. The second one is the Art Networik Asia (ANA). It was funded in 1999, an initiative of the Singapore group called Theatreworks. ANA is like a forum for Asia’s diverse cultural expression and its relationship to the rest of the world. ANA recognises the cultural diversity and pluralism in Asia, a diversity that is represented by the eleven different languages ANA uses in the course of its work. Asia’s diverse

cultural expression and its relationship to the rest of the world. ANA recognises the cultural diversity and pluralism in Asia, a diversity that is represented by the eleven different languages ANA uses in the course of its work. Unusual for a network, ANA is also a grant-giving body, with funding decisions made by a peer panel of artists and arts managers from different Asian countries. The aim of the grants is to encourage challenging and provocative exchanges and collaborations between different cultures within Asia. ANA also emphasises that its grants primarily support processes, as opposed to products, such as interdisciplinary work, critical discourse, technical training and arts management. ANA organises artists’ residencies but with cultural exchange and understanding as a priority. These residencies combine engagement with local communities and local issues with studio work. It supports also festivals and events because of their role as networking and exchange platforms. To take just some european examples of Cultural Centres Networks, I’d want to talk about: - International Network of Contemporary Performing Arts (IETM), that is the oldest european cultural network, registered in 1981. Today IETM has over 400 members in 45 countries and it’s linked with networks outside Europe. - Culture Action Europe (EFAH), that is the leading advocate for the cultural sector in Europe, and has 70 members. - Trans European Halles (TEH), that was funded in 1983. It has 50 members and is a network of independent cultural centres in Europe. The profile of its members is independent, multi-disciplinary, industrial heritage, high-quality artistic programme, awareness of the social and political aspects of cultural actions. - Artfactories, that was fundend in 1998. It has developed a networking tool that originated in Trans Europe Halles but grew to be a successful independent organisation. Artfactories is a platform for independent cultural centres and not a network in its proper definition: it has no members and no networking activities and is dedicated to gathering and dispersing information about independent cultural

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centres around the world. The importance of this kind of networks is built on relations between human beings and their organizations and the sharing of common objectives and common values. Networks can only be successful if they are characteristic by: trust, sharing, creating, transparency, diversity. The result of a well structured network, is appreciable on different layers. In fact a network is good for exchange of knowledge, for the creation of partnership, for the sharing of experience, opportunities and values, for a learning process, for the support, for the development of new ideas and also for breaking down barriers and hierarchies. The objectives of an Independent Cultural Centres Network is to be an useful tool dedicated not only to Independend Cultural Centres, but also to researchers, public institutions and so on. Furthermore It’s a resource centre for young teams who are starting a cultural project based on supporting contemporary arts and community activities. It’s role is to help them to define the early stages of the project (what they want to do with their building, how to write their vision and missions, how to engage sustainable relationships with local governments, etc). An Independent Cultural Centre Network is also important for the organization of meeting, training and seminars around relevant themes, such as sustainable development, cultural heritage and social creative practices. 4.5 CASE HISTORY: TRANS EUROPE HALLES In the second half of the last century new forms of music, dance, performance, visual art and other forms of art started to be developed. Any innovation that signified change and freedom, filled new cultural temples, these former halls of industry that I describe above. From counterculturalism to punk, communes to ecocollectives, neighbourhood centres to anarchist squats, these are just few examples of the rehabilitation of our industrial heritage. Trans Europe Halles has recognised

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and embraced this trend since its founding in 1983. It was the 4th of March, 1983, seven cultural pioneers met at Halles de Schaerbeek in Brussels. Les Halles, a vast covered market dating from 1865, was in danger of demolition and a number of young activists were campaigning for its preservation. They not only wanted to save the historic Building (It was the first covered market in Brussels) but they believed it could have a second life, as a cultural venue. The process the campaigners had embarked upon was difficult and fragile and it echoed many similar initiatives across post-industrial Europe as we have seen. A leader of their collective, Philippe Grombeer, felt internaional advice and support should have been very beneficial to their cause. He first made contact with Melkweb in Amsterdam that immediatly agreed to participate. Other five centres responded to the call for a meeting: Ny Scen (Gothenburh), Huset (Copenhagen), Kultur Fabrik (Koblenz), Rote Fabrik (Zurich) and Pali-kao (Paris). After thirty years the TEH has over 50 members and 15 friends based in 27 countries. What TEH represents over all this years is always the same idea that culture should support a pluralistic, sustainable, free and developmental society. Since its fundation TEH believes that everyone should have a voice in culture, a voice that should be heard and listened to, on an equal basis and without prejudice. The journey has not always been easy but the several challenges also strengthened the organization, as it developed and expanded over the years. The network’s growth can be traced in three distinct phases: - First phase, from 1983 to 1993, it’s about the fundation. Small group of funders met and worked on an informal basis, sharing their concerns and their knowledge in solidarity: lobbying, advocating and networking and slowly gaining additional members along the way. In fact, instead its size and dimention during the formative years, TEH achieved many goals. It became an advisor to the Council of Europe, organized a lot of festivals, exhibitions and music events in different big cities in Europe (Copenhagen, Zurich, Brussels, Amsterdam, Berlin, Vienna and Poitiers).

By the 10th anniversary celebration in 1993, the network had 14 members and had built a solid reputation as an organisation thet represented a new energy, centered in post industrial buildings and placed at the intersection where the social, cultural and civic life of cities met. The fall of Berlin Wall in 1989 represented an important moment to engage more freely with Western counterparts and TEH embraced new colleagues in countries no longer behind the Iron Curtain. From this point on, TEH engaged in a growing number of partnerships, support initiatives and joint projects with newly emerging independent cultural centres in the east of Europe. - Second phase began in 1994 with the opening of an office and a paid coordinator, leading to an expansion of the objectives and activities and greater recognition as an organization having an important contribution to make to the cultural life of Europe. In fact thanks to the new offece and full-time workers, the network accelerate its development and the support for its members (from the sharing of information to helping centres in trouble). During this second phase TEH increase its influence in Europe. In fact the network was invitated to participate in many meetings, dabates, planning and think tanks. In this period TEH had the possibility to organize centralised network projects. Between the 1995 and the 1998 TEH produced its most ambitious programme, the “Phoenix Project”. This process looked at new and emerging cultural shifts in Europe and how art and cultre could be placed a the centre of the European debate. Another network prject during this phase was “In and Out of Europe” making commections beyond European borders, resulting in a centre being established in Deakar, Senegal, and participation in the World Social Forum in Port Alegre, Brazil. Other projects were the “Youth Employment Project”,

the publication of a book titled “Factories of the Imagination” and the launch of the Trans Europe Halles newsletter. - Third phase, from 2000, established TEH as a force for change, as it initiated a wide range of programmes to buid capacity, through its membership, in the wider independent cultural sector: sharing experience and knowledge, opening dabates ad actively seeking collaborations outside of the network. In this last phase TEH formulated a new mission and an expansion policy. New networking opportunities were launched, as can be seen from the Trans Nordic Project, which was supported by the Nordic Council of Ministers for “research and increased contact, collaboration and communication between independent cultural centres in the Nordic and Baltic countries”. Another project was the LIFT project to coordinate the exchanges of volunteers between the member centres, supporting and encouraging the young volunteers to develop their own prject ideas, funded by the European Voluntary Service (EVS). To support its members (today TEH has 58 members and 20 association), TEH also began a programme of capacity building with workshop, training, consultancy and mentoring throught two major programmes: Changing Room and Engine Room Europe. 7 As mentioned above, my thesis started through a collaboration with an innovative start-up, called mare culturale urbano, in Milan. I chosen to deepen this Independent Cultural Centres Network, because mare culturale urbano is one of its associate, thanks to its vocation to establish an innovative cultural centre in the milanese suburbs. In the following chapters I will talk about mare culturale urbano more in detail.

7 Retrieved on http://teh.net/wp-content/uploads/2015/01/design-handbook.pdf (Accessed 25 March 2016).

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5. service design SOCIAL INNOVATION AND SUSTAINABILITY

5.1 A SOCIETY COSTANTLY DEVELOPING In the previous chapters I have attempted to outline a picture of societal, cultural and economic transformation as a cause of the big values and capitalistic crisis after the end of the World wars and the industrialization ages. Those were very complicated years and people were affected by a lot of different transformations that brought them to change their behaviours and habits. As I said previously, one of many results of this instable and transitional period was the establishment of several cultural centres and the definition of a new kind of conscious art during the second half of the 20th century. Anyway the tranformation involved in its process also other aspects of the society, as the financial one, the political and so on. In a way the society never stops to change, it is in a continuing process of transformation. In particular the contemporary society is the result of a number of transformations, especially related to the crisis that has unfolded since 2008 in most Western economies and that is bringing people towards more and more sustainable ways of living. According to Castells et al., this crisis is not merely economic, it is structural and multidimensional: “a financial crisis triggered an industrial crisis that induced an employment crisis that led to a demand crisis that, by prompting massive government intervention to stop the free fall of economy, ultimately led to a fiscal crisis” (Castells, Caraça & Cardoso, 2012, p.4). It seams a spiral without an ending. However, in spite of the forecasts, it’s possible to detect the emergence of alternative practices exploring new and sustainable ways of living. In a way the crisis has become a powerful driven of behavioural change and people have started to search for new alternatives to continue living as they did. This represents a good example of how a crisis situation can lead positive solutions, social innovation and, according to Young Fundations “new ideas” in terms of services, products and models. These ideas meet social needs and create new social relationship or collaborations. They are kind of innovations that are both good for society and enhance society’s capacity

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to act (Mulgan & Murray, 2010, p.3). Anyway, social innovation is not a new concept, but it has increased attention in recent years appearing in political programmes and business plans. Under the wide idea of social innovation it’s possible to find numerous transformations. One of these includes new forms of economy that are emerging as a possible solution of the crisis. I’m talking about the new trends of “sharing economy”, “collaborative consumption”, “peer economy” and so on. These alternative kind of economy are a natural answers of the eclipse of capitalism after which it’s starting a new era of nearly free goods and services, in which peer-to peer economic and social practices of the Internet are extended to energy, logistics and material fabrication (Rifkin, 2014). Another effect of the economic and political crisis could be represent by the rising of new forms of welfare. In a context in which the state and the market are not able to find new solutions, the role of citizens is crucial to create a new welfare. They are not considered anymore as passive recipients of state services, but the active agents of their own life (Cameron, 2007). These new forms of welfare are known as “relational welfare”, “second welfare”, “open welfare” etc. They all are related to the notion of service co-production which means a cooperation process that involve citizens and a variety of actors for the achievement of the common good through actions in social, environmentaland political field. All these economic and societal phenomenons derive from the crisis that is affecting the service sector until now, producing a sort of “service scarcity” (Selloni, 2014, p.19). This means that there is a diffused difficulty in accessing a wide range of services on the side of citizens. According to Cottam (2011) the reason behind the service sector crisis is a mismatch between the services on offer and the needs of the population. In the U.S. and especially in Europe, the welafre state is not anymore able to serve citizens at all and on the other side people cannot afford market services. This is producing the so called “service scarsity” on one side, and on the other one the rising of alternative and sustainable ways of living: less costly

Design for Services Summary, Grap. 3 by author

solutions to their needs through new forms of activism, self-production and sharing. These new services benefit from a smart use of ICT, as the mobile techology, that offers speed of contact and of the supply-demand cycle, creating alternative solutions by “putting products and services normally available on the market into new ind of system” (Jégou & Manzini, 2008, p.30). In the words of Meroni and Sangiorgi (2007) people who use their capabilities to experiment new and more sustainable ways of living and to find alternative solutions to “service scarcity” might be described as part of creative communities and so, citizen activism. The collaboration to solve problems, to find solutions and to satisfy desires became a fundamental value in our society and ordinary citizens became “also experts in their own concerns and what they want” (Landry, 2009, p.246). In fact, according to Blears “local people often knows what the solutions to problems in their area are – but too often we don’t include them in the process. If we want the highest quality services that really meet people’s needs then we need to find better ways of hearing what they have to say and put communities in control of the services that affect their lives” (2008, p.6). In a way people are the experts, the protagonists of a new design era, of innovative and creative communities. These are the results of the life inside cities, smart and variable environment characterised by diffused knowledge, high level of connectivity, a certain degree of tolerance towards non-conventional ways of living (Jégou and Manzini, 2008). This is the decline of the individualism and the return to tribal time. Even if in a new and modern way, people feel againg the need of affective and emotional investment and the sentiment of tribal belonging (Maffesoli, 2007). This process is fovourite by the ICT system that puts “products and services normally available on the market into a new kind of system” (Jégou & Manzini, 2008, p.30). The idea of creative communities is very closed with the sharing economy and the collaborative consumption described by Botsman and Roger (2010) as traditional sharing, bartering, lending, trading, renting, gifting and swapping redefined through technologies and peer communities.

Grap. 3

involve people IN THE DESIGN PROCESS

TO EXPERIMENT NEW AND MORE SUSTAINABLE WAYS OF LIVING

TO FIND ALTERNATIVE SOLUTIONS TO IMPROVE SERVICES

DESIGN FOR SERVICES

SERVICE DESIGN 5. |

5.2 DESIGN FOR SOCIAL INNOVATION The term “design for social innovation” has a complicated and multifaceted meaning and, even if it is increasingly used by policymakers, researchers, academic istitutions and so on, it lacks an univocal definition. Jenson (2013) defines social innovation as a “quasi-concept”, relating to McNeill (2006) who describes “a concept which is more than simply a slogan or buzzword because it has some reputable intellectual basis. What is special about such an idea is that it is able to operate in both academia and policy domains”. According to Jégou and Manzini (2008) the social innovation is something related to the capacity of individuals or communities to solve problem or to generate new opportunities. These innovations are driven by changes in behaviour and typically emerge from bottom-up rather than top-dowm processes. However, the most well-known definition of social innovation is provided by Young Fundation in the “Open Book of Social Innovation”: “new ideas (product, services, models) that simultaneously meet social needs and create new social relationships or collaborations. In other words, they are innovations that are both good for society and enhance society’s capacity to act” (Murray et al., 2010, p.3). The “Open Book of Social Innovation” proposes also an overview of the social innovation process. It identifies six stage process of innovation: - Prompts (which highlight the need for social innovation) - Proposal (where ideas are developed) - Prototyping (where ideas get tested in practice) - Sustaining (when the idea becomes everyday practice) - Scaling (growing and spreading social innovations) - Systemic change (involves re-design and introducing entire system and will usually involve all sectors over time) These phases are iterative and often overlap, because the social innovation process is not fluid and linear, but full of interferences. The main problem is how to scale and

| 5. SERVICE DESIGN

diffuse this process and so how to grow social innovation. Social innovation has a lot of tools. Geoff Mulgan, chief executive of Nesta and former director of Young Fundation, in his intervention at the “Social Innovation Exchange conference” (2009), summarized strenght and weaknesses in applying design to social innovation. The strengths are: new perspective and clarity, systemic thinking, visualization technique that allow involving different stakeholders, rapid prototyping, user-centred approach etc. The weaknesses include high cost, lack of economic understanding or organizational perspective and lack of skills for implementation. Nowadays it’s possible to observe as increasing interest in how to increase the influence of social innovation throught the design. The result are the several agencies (Think Public, Ideo, Engine etc.) all around the world that shows how design for services is fundamental in developing social innovation. Manzini attempts to provide a definition of design for social innovation, in his article “Making Things Happen” (2014). According to the author, designers must use their skills to support promising cases of social innovation, in other words to make them more visible designing their products, services and communication programmes, and thus supporting their scaling-up. Manzini refers to a set of new approaches, sensibility and tools related to many different design fields: from product to service design, from communication to interior design, from interaction to strategic design. The most crucial seems to be the services and the interaction design. In fact the first one focuses on the quality of the interaction, while the second one supports the creation of innovative and unusual partnerships. Manzini concludes affirming that “the design for social innovation, even though, at the moment, is still very far from being mainstream, by its same nature, is not a complementary design activity. It is, or at least it could be, the anticipation of what, hopefully, will be the design of the 21st century. And therefore, and very pragmatically, it proposes a design activity in which, if the more favourable scenario would be realized, the majority of the design experts could have a role and make their living” (ibidem, 2014).

5.3 MY SERVICE DESIGN APPROACH In the previous paragraphs, I have tried to describe the relationship between serivice design and a transforming society, how people are reinventing their ways of living in response to the crisis and how these attitudes have contributed to create new services, new economy and, in a way, social innovation in many differents fields. In the most cases the drivens of innovation are evident, such as the crisis, but not always people are conscious about their role in the design process. This is because design is hard to be described in a sentence, even for designers. However nowadays it very important understanding the potentialities of design process, especially for services, social innovation and interaction. The awareness among citizens and especially among the istitutions and political bodies, may contribute to make more efficient and enhance social innovation. In the following paragraphs I will analyse briefly the service design meaning and my approach as service designers to the thesis project. 5.3.1 WHAT IS SERVICE DESIGN? As noted above, service design has not a specific definition. This is because it has an interdisciplinary approach that combines different methods and tools from various disciplines such as marketing, ethnography, industrial design, business and management (Miettinen and Valtonen, 2012). According to Stickdorn and Schneider et al. Service design is constantly evolving and “this is particularly apparent in the fact that, as yet, there is no common definition or clearly articulated language of service design. A single definition of service design might constrain this evolving approach, whereas a shared language is undoubtedly important for the further growth and development of service design thinking” (Schneider, Stickdorn & Soo, 2011, p.29). So the lack of a definition represent a positive aspect for service design. In the world of R. Bauchman (2001) “One of the

great strengths of design is that we have not settled on a single definition. Fields in which definition is now a settled matter tend to be lethargic, dying, or dead fields, where inquiry no longer provides challenges to what is accepted as truth”. Service design begins to appear around the ‘70s, in a context characterised by an increasing social and economic role of the service sector but still focused especially on the physical and tangible output of the traditional industrial sectors. The origin of service design has its roots in a more and more deep study of the complicated and multidisciplinary service system that is the basis of systematic service innovation. Service design is also a consequences of several policy debates and programmes about new concept for the growth and sustainability of innovation and competitiveness. Those analysis aimed at understanding the service sector: the service economy wasn’t anymore dependent on the service industry but related to new ideas of design, creativity and user-centered approaches to innovation. At the end of the last century, as I said in the previous chapters, a new and unpredictable form of design became automatically the solution for problems and the way to find tools for interaction and ways of interaction in a bottom-up process. So at the beginning, service design was wrongly related to products and industrialization. This is the reason why marketing is one of the most important disciplines that contributed to give a significant meaning to service design. During the second half of the last century, the social, economical and political developments genetared the shift from a production orientation to a marketing orienatation. The increasing marketing competition pushed organizations to make huge efforts to find out what consumers want or need, differentiating their products and service in order to attract different market segment. One adopted strategy was the etnographyc research. This kind of analysis maked evident that services affect behaviours and lifestyle more than products and so services became the reason to re-conceptualizing products. But what is a service? How we can differenciate services from products? It’s hard

SERVICE DESIGN 5. |

to find an answer. Some of the early effort defined services as what goods are not or as additional offerings complementing products (Vargo & Lusch, 2004). Quoting the research by Zeithaml, Parasuraman and Berry (1985) it’s possible to summarize service characteristics in four features: - Intangibility Services cannot be seen, felt, tasted or touched in the same manner in which goods can be sensed. This is the reason why services need to be more tangible by “evidencing” offering and service experience. - Heterogeneity The quality of the experience and so of the performance may vary from time to time, depending on the situation and the service participants. Developing models and tools is fundamental to understand the conditions that influence the quality of the service interactions. - Inseparability Most services require he presence of customers for service to exist. Users become a resource for insights, ideas. They are real co-producers within more collaborative service models. - Perishability Most services can’t be stored: they depend on the ability to balance and synchronise demand with supply. It’s possible to answer demands by connecting small and diverse initiatives via networks and platforms. However the debate continues about what constitutes service, researchers have focussed on specific aspect of service. They began to move away from traditional markenting’s emphasis on pricing and transactions towards understanding in more detail the processes through which individual customers interacted with firms. In this way they added to the classic “4Ps” factors – product, price, promotion and place – other three: participant, processes and physical evidence (Booms and Bitner, 1981). Researchers also began to emphasise service quality perceived from

| 5. SERVICE DESIGN

the point of view of the costumer for whom the service encounter constituted the service (Zeithaml & Bitner, 2003). Finally services, because of their features, are kind of artefacts which are impossible to controll in all aspects. Design has the important role to create the conditions for certain forms of interactions and relationships to happen. Focussed on this assumption it’s possible to talk about Service Design or Design of Services or, even better, Design for Services. Agreeing with the idea of Meroni e Sangiorgi, “while acknowledging service design as the disciplinary term, we will focus more on articulating what design is doing and can do for services and how this connects to existing fields of knowledge and practice” (2011, p.10). According to the authors the use of “for” is crucial, because it implies the idea of transformation, of an action in progress that can affect not only services as objects, but also more complex entities and systems, involving a multiplicity of interactions. Design for services is like a pathway to innovation, a way to find new solutions and opening new opportunities for wellbeing, especially of a social collective. According to Manzini (2008) services for collective are “solutions oriented at best serving the well-being of a social collective, in other words they should provide access to essential functions of everyday life, overcoming, hopefully, traditional consumption patterns and behaviours”. This is the aim of my project: to create well-being of a social collective and investigate new social innovation solutions in a neighborhood. Meroni and Sangiorgi in their book “Design for Services” elaborate an useful map to visualize the purpose of design intervention within the area of design for services. The “D4S map” is about the way how different design projects have been approached by designers and may help them to find the right position for their design projects. The map visualises the purposes of design intervention. It systematizes a variety of perspectives (service experiences, touchpoints, service model or system configuration, usability, faesibility, sustainability, service

map

IMAGINING FUTURE DIRECTIONS FOR SERVICE SYSTEMS

EXPLORING NEW COLLABORATIVE SERVICE MODELS

RG FO A ST C NS ERI HA AT N N IO G G N E A L

Engaging and connecting people Ap p and lying me expe transf the rim orm ds ent al ationa l

ENABLING COLLABORATIVE SERVICES

M fut anif ur est e s ing ce na rio s

Building and sharing visions

A HUMAN-CENTRED APPROACH

a ting red mo ent Pro an-c ulture hum vice c cer

c athi emp ns ting eractio r o p int Sup

w ne s pe odel y t oto m Pr rvice se

DESIGN FOR SERVICES

Promoting new value configurations

Understanding people’s behaviours, experiences and practices

imp Evalu rov atin and ing se g and inte rvic rfa e ces

DESIGNING FOR CO-EXPERIENCE

Fa cili ta co ting lla cre bo at rat ive ion s

EW N G RS N SI IOU PO V O HA PR BE

a ing d ply Ap entre h ty C oac uni ppr mm n a Co Desig

DE C SIG O N -C IN RE G AT F IO OR N

GENERATING FUTURE SCENARIOS

G S IN N N O G TI SI C DE ERA T IN

modularity or experiential quality). Moreover the map identifies 4 main areas of intervention and 8 main kinds of design contributions. To conclude, the D4S map has a strong common denominator: a human-centred design approach to services. The areas of interventions are: - Design interactions, relations and experiences Design for Services can focus on evaluating and designing service experiences, relations and interactions linking field observations with co-creation. - Design interactions to shape systems and organizations The redesign of service interactions can be the main driver for innovation. Organisational change and business development. - Exploring new collaborative service models Design for services can work on imagining and experimenting with new service models emphasising on co-creation, oserving and probing emerging practices and using new media. - Imagining future directions for service system Design for services can generate scenarions for regions, places and service systems, by imaging alternative directions for more sustainable futures on a local scale. According to this map, my project may be positioned in between “design interactions, relations and experiences” and “exploring new collaborative service models” including, in some respects, “imagining future directions for service systems”. In fact my thesis is abount a service for community. Its aim is to create new form of relation and interaction in the neighborhood, new services to enable new ways of living. In this king of process there is the possibility to develop a scenario, even if at small-scale, a new service model constituted by new service system and new forms of service experience for citizens. The “new collaborative service models” area is particularly related with my project because it’s about services seen “as platforms that enable people to participate and collaborate within their communities, to achieve their goals and tranform their lifestyle” (Meroni & Sangiorgi, 2011, p.208).

d4s

grap. 4

DESIGNING INTERACTIONS, RELATIONS AND EXPERIENCES

D4S map, Grap. 4 by A. Meroni & D. Sangiorgi, 2011

SHAPING SERVICE SYSTEMS

DESIGNING INTERACTIONS TO SHAPE SYSTEMS AND ORGANIZATIONS

SERVICE DESIGN 5. |

5.3.2 MY ROLE AS SERVICE DESIGNERS Based on the assumption that until now service design has not an univocal definition, it has very clear features. In particular it’s possible to define 5 core principles related with the service design thinking (Stickdorn & Schneider et al, 2011): - User-centered Services should be experienced through the customer’s eyes. In fact it’s fundamental to put customer at the centre of service design process to understand the his real needs beyond mere statistical and empirical analyses. Services designers has to slip into customer’s shoes in order to understandhis individual service experience. “We are all customers- though with different needs and mindsets. The understanding and disclosure of these disparate mindsets is where service design thinking begins” (ibidem, p.37). - Co-creative All stakeholders (managers, marketers, engineers, designers, front-line staff and customers etc.) should be included in the service design process in order to gain genuine insights from different user perspectives. There are many methods and tools that designers can use to interact with stakeholders and create, develop, prototype or test services. In this way the co-creation becames a vital aspect of design thinking and a fundamental part of service design adding values to the service itself. In fact “the more a costumer gets involved in the service provision, the more likely this service is of evoking co-ownership which in turn will result in increased costomer layalty and long term engagement” (ibidem, p.39). - Sequencing The service should be visualised as a sequence of interrelated actions characterised by a specific rhythm and this can influence the mood of customers. It’s possible to identify three step transition in every service process: per-service period (getting in touch with the service), actual service period (when the customers actually experience a service) and post-service period (after the costumer service

| 5. SERVICE DESIGN

experiece). Like a movie or a theatrical performance, services should be well orchestrated, they need a good narrative and a pleasant rhythm. This is the reason why it’s very important the prototyping moment, in order to test the service impact on customer. - Evidencing Intangible services should be visualised in terms of physical artefacts in order to create memory of positive service moments and emotial associations able to continue the service experience that costumers have received. This is the postservice period. It’s very usefull to increase custumer loyalty and for costumers to recommend the service to others but it’s not always recomanded and desiderable (think about junk mails). So “service evidence needs to be designed according to the service’s inherent story and its touchpoint sequence” (ibidem, p.43) - Holistic The entire environment of a service should be considered. Even if an holistic way is an illusion, designers should always see the wider context in wich service process thakes place. In fact “the conscious awareness of what customers might otherwise perceive subconsciously with their senses can have a profund impact on the experience of the service itself” (ibidem, p.44). In my opinion service designers have to bear in mind all these services features when they are design new service concepts. I tried to do this also because I have the possibility to work in a real context, Quarto Cagnino neighbourhood in Milan, with real community of people and with the fundamental contribution of mare culturale urbano. I had the possibility to design using the user-centered point of view. In fact I worked very close to mare culturale urbano and the community, having the possibility to see people behaviours for 4 months, from September 2015 to December 2015, after which I continued the collaboration since April 2016, even if I was more focused on my thesis instead of mare culturale urbano real project. Anyway this situation

Workshop with citizens by mare Fig. 4 culturale urbano, Milan Expo Gate, photo by Luca Chiaudano (2016)

Fig. 4

allowed me to better understand the needs of citizens, having also the access to the data collected by mare during the research phase, and work in a real field. It was a very useful and exciting experience for me also because this has shown me how service designers can actually help to find the right path for the creation of a complicated service system. My thesis process was also based on co-creation. Especially in the first stages I have had many briefing with mare cultrale urbano and, at the end of the process, I realised co-design sessions with citizens in order to test my design and establish some project improvements. I will describe in depth the results of these co-design meeting in the last part of my thesis. Moreover I always took account of the service process in each step of the user journey, from the pre-service phase to the post- service one. Some touchpoints were tested during the co-design sessions. The next factors, evidencing, is something that I linked with the user experience after they have enjoed the service. The experience during the service and after the service is very important and I have tried to create the condition to have a good post-service experience. As I said before, the possibility to work near the community and inside mare culturale urbano gave me the chance to analyse in the field the context. The most important contribution was related to an etnographic research in the field based on observation, comparison and evaluation. In the following chapters I will describe the context analysis and my relation with mare culturale urbano in order to explain in depth the project.

SERVICE DESIGN 5. |

6. PROJECT CONTEXT ART AND CULTURE IN ITALY AND MILAN

6.1 LAWS ABOUT LANDSCAPE AND CULTURAL HERITAGE In the following paragraphs I’m going to underline the italian situation about culture and art heritage issues. The cultural istitutions history is very complex and interesting. I will also analyse in short the european cultural funds for Italy and the agenda that our Country has organised to increase and develope the cultural heritage for the next years. I think that is very important to talk about these issues because my thesis is about a cultural centre. Culture, art and social involvement are the key words in my project research. It’s possible to consider Italy as a comparatively young state, whose unification dates back only to 1860. Even if the first laws pertaining to cultural matters were adopted by the Parliament only in 1902 and 1909 (focusing mainly on safeguarding the heritage that has always represented the prevailing domain of public policy in the cultural sector in Italy) it’s possible to recreate the cultural evolution history going back quite a long time. A start could be made, for example, by quoting Cicerone and particularly his orations “In Verrem” (70 BC). Inside the fourth book, “De Signis”, translated “The Statues”, Cicerone tried to explain to his Roman audience the gravity of art theft by the ex pro-praetor Gaio Licinio Verre at the expense of Sicily. According to Cicerone it was an act more serious than the plundering of the treasury or of the granaries, because it is something closed to the idea of cultural heritage. Sicilian were like Greek for their language and their culture, at that time. They considered works of art not just “ornamenta”, something beautiful, part of the heritage, but also “monumenta”, thus commemoration sites, gathering places for the community. According to the author, this kind of artistic heritage, had to be protect for its aestethic value and even more for its civic value that was very important for the “res pubblica”. Then the Roman Empire gave always great importance to the art and culture in reference to the idea of “civitas” and “polis”. The civic and juridical culture characterized also the italian cities after the fall of the

| 6. PROJECT CONTEXT

Roman Empire. Especially since the 12th century, the most important italian cities elaborated a strong citizenship perception according to which cities monuments were considerated as part of the civic and emotional identity. An example could be the deliberation about the protection of the Trajan’s Column in Rome (1162). An other successive example could be the statutes of Siena (1309) according to which the governant had to shelter the beauty and the monument of the city first of all. At the same time other italian States released laws about heritage protection, believing in the concepts of beauty, ornament, dignity, public onor, common good or “publica utilitas” as values to be transmit from one generation to the next. For istance, the apostolic Costitution by Gregorio XIII (1574) established the unconditional priority of public good in spite of individual interests. Starting from the apostolic Constitution was founded the edict of 1733 about the collection of antiquities in Rome, in Naple and in other italian cities. During the same historical period, the pope Clemente XII created the Museo Capitolino (1734) to avoid the exportation of some sculptures. At the same time in Naples the King Carlo di Borbone started the excavation of Ercolano (1738) and Pompei (1748). Moreover, between the 1802 and the 1819, the pope Pio VII reclaimed many works of art pillaged by French. Other italian States, Venice one, Milan one and others, adopted similar rulers and wrote some catalogues to list their pieces of art. Unfortunately, even if the idea of “publica utilitas” was always strong inside italian people, it took many years to find a common heritage protection law, after the italian States union in the 1860. The first one date back to 1902 and was improved in the 1909. It was one of the most important law focused mainly on safeguarding the heritage. It is clear that, given the unparalleled wealth of the multi-layered Italian historic and artistic assets and the considerable burden of its maintenance on the public purse, heritage has always represented the prevailing domain of public policy in the cultural sector. The law of 1909 was useful not just for the safeguard of the cultural heritage but also for the landscape protection. However this was

not approved by the aristocracy and the landowners due to personal interests. Landscape became an important issue in Italy but also in other Countries, like France, England, Germany, and many pioners of the landscape safeguard fought trying to highlight the fundamental role of nature towards the future generations and the national identity. Landscape is something related to nature but also with the art and history. It was represented by many poets and painters and tells the story of a Country. According to Goethe in his book “Italian Journey” (1816-1817), the architectural buildings inside the italian landscape are like a second nature for the common good. In the first half of the last century, also in Italy started a slow industrialization process that caused many debates about the nature and landscape protection. However the first law was elaborated by Benedetto Croce in the 1920. According to Croce the safeguard is fundamental and necessary for the common good even if it limits the trespassing. During the fascist rule, in the ‘30s, Italy was one of the first countries to create a ministry specifically in charge of the cultural sector: the Ministry for Popular Culture, which actually soon became quite unpopular. Despite the negative implications of such a Ministry being created under a dictatorship – censorship, ideological propaganda, and the like – the farsightedness and the anticipatory view of the role of the state in the policies for culture of the fascist regime, as well as its understandingof the cultural institutional engineering, are by now generally acknowledged. A large part of Italian cultural legislation – not only on the protection of the heritage and landscape (Laws 1089 and 1497 of 1939), but also in support of artists and artistic creativity, such as the general Copyright Law (also extended to “droit de suite”), or the Law on “2% for the arts in public buildings” – date back to the late 1930s and early 1940s. The same is true for many of the surviving major cultural institutions, such as the Institute for Restoration (for movable andimmovable cultural goods), the national broadcasting company (EIAR, later RAI), Cinecittà and Istituto Luce (the state owned film companies), and

ENPALS (the social security institute for performing artists). As in Germany, the Ministry for Popular Culture was immediately abolished after the war: yet, whereas cultural competencies were devolved to the Lander in the former case, in Italy they were instead retained by the state and split among several ministries. Along with “protection of heritage and landscape”, and “freedom of thought and of artistic expression”, the “promotion of cultural development” was also far-sightedly mentioned among the key cultural goals by the Constitution of 1947 (Articles 9, 21 and 33). However, only the first two goals were actively pursued from the outset, whereas the “promotion of cultural development” – at that time a quite anticipatory goal – remained in the background for more than two decades. Support for contemporary creativity was no longer a priority, and access to the arts was still for the happy few. Widespread participation in cultural life, however, gradually gathered momentum through the fast-developing cultural industries, and notably through the high level of post-war film production and through the new mass medium: television. The first relevant istitutional change came in 1972, when the 15 ordinary regions were finally established. In particular very active policies were undertaken by some of the regions, such as Lombardy, Tuscany and others. Another important istitutional change emerged in 1975 through the creation of the Ministry for Heritage. The prominence of Italy’s heritage as the cornerstone of national cultural policy was thus emphasised; “safeguarding” and “restoration” being the key functions absorbing most of the state’s activities and financial resources allocated to the cultural field. At the turn of the century, the new economic emphasis on the production of immaterial goods and services, and thus the central role acquired by cultural policies in the framework of development policies in Italy as in other industrialised countries, played a significant role in removing the last obstacles

PROJECT CONTEXT 6. |

to a full rationalisation of the state cultural competencies. Finally, since 2013 – also considering that “cultural tourism” plays a particularly relevant role in enhancing our country’s touristic attractiveness – the ministry for culture was further empowered with the competencies on tourism, thus being renamed the Ministry for the Heritage, Cultural Activities and Tourism (Mibac). However, the huge complexity of italian istitutions, the establishment of region and municipality with differnt role and obligations and the concurrent responsibilities in the field of the valorisation of Italy’s cultural and artistic heritage are still causing conflicts and frequent appeals to the Constitution Court. Moreover the gap in cultural supply and demand between the rich and developed northern and central regions and an underprivileged southern Italy is a long lasting problem. Notwithstanding the significant thrust set in motion through the years by the European Structural Funds, according to most cultural indicators on cultural supply and demand and on cultural employment, this gap is growing even wider. The current crisis is also related to these kind of problems: cultural heritage, artistic patrimony and landscape safegurd and development. Governants don’t understand the importance to invest in these sectors. They, on the contrary, are reducing the funds for heritage, atistic programmes, cultural activities. It’s fundamental to consider these values as the only way for Italy to survive this crisis. It’s also important to guarantee equality of access to cultural life for all citizens, also as a means to strengthen social cohesion. It should by now be considered an utmost priority, calling for an urgent and well-focused effort by the national community as a whole. 1

6.2 CULTURE AND STRUCTURAL FUNDS IN ITALY In the previous paragraph I have explained how cultural has always been very important for the history of Italy. In fact Italy is one of the EU member countries which seems naturally inclined to give to culture a central role in its national and locan development strategies, given the richness of its cultural heritage, the outstanding role of culture in the definition and perception of its national identity, the weight of the cultural and creative sector in the national economy both in terms of turnover and employment, and its strong international positioning in several cultural and creative sectors such as visual and performing arts, cinema, music, publishing, faschion, design, etc. In spite of this, as I have mentioned above, Italy growth is in serious difficulty because of a long-term stagnation phase in which innovative perpective for policy design and culture seems to play a minor role. 2 However design and fashion and other creative fields are commonly perceived as key for italian competitiveness but they are strangely conceptualized as components of the non-cultural manufacturing spectrum rather than as key drivers of the cultural and creative economy or strategic solutions for the crisis. Consequently, the Italian policy debate on culture still suffers from a poor and mislading conceptalization of the role of culture and creativity in economic development and competitiveness. In fact in Italy the sconomic pontential of culture is seen as ancillary to the tourism sector. Culture-related value added is thus generally found in the impact of cultural tourism, both under the form of direct demand of cultural goods and services, and in terms of indirect impact on service sectors (e.g. hospitality, food and wine, merchandising). As a consequence, from a strategic point of view, culture ends up

1 This paragraph is written on the basis of http://www.culturalpolicies.net/web/italy.php (Accessed 25 March 2016). 2 This paragraph is written on the basis of http://www.eenc.info/wp-content/uploads/2012/07/PLSacco-Culture-and-the-Structural-Funds-in-Italy.pdf (Accessed 25 March 2016).

| 6. PROJECT CONTEXT

to be invariably matched with natural resources as natural complements of the wider national and regional touristic menu. In a context where the developmental potential of culture is entirely handed over to its touristic dimension with very little emphasis toward cultural production (or looking at this dimension as a basically subsidized, economically unproductive one), cultural tourism itself suffers from the progressive impoverishment of the cultural scene and vitality of the ‘art cities’, which are gradually remodelling their urban and social fabric to adapt unconditionally to the needs and the expectations of the tourists, and thus gradually transform themselves in culturally lifeless ‘theme parks’, which expel their historical residents, impoverish the social life of the city, endanger the proper conservation of the heritage, foster real estate speculation and eventually threaten both the physical and the social sustainability of the city itself. In this perspective, it’s fundamental that italian heritage cities invest in a more balanced and sustainable local development model where touristic development is integrated within a wider strategy that combines attraction of creative professionals and development of creative entrepreneurship, stimulation of (active) cultural participation of the residents, human capital and skill development strategies in creative production and manufacturing, and so on, thereby encouraging less invasive and higher value-added form of tourism, with longer average permanence times, higher willingness to pay for quality services and cultural experiences. In terms of regional disparities, there still exist ample differences among the basic national quadrants. In the North-West, where the old Industrial Triangle that spurred the first wave of the country’s industrialization cycle and that hosts three major industrial and cultural cities such as Milan, Turin, and Genoa is located, a high concentration of the country’s cultural and creative production potential can be found. In the North-East culture has traditionally played a relatively minor role in local policies if compared to the North-West. The macro-region hosts some of the most

important ‘art cities’ of the country such as Venice and Verona, and is to a large extent largely representative, in its developmental culture, of the narrow tourismoriented view discussed above. In Central Italy, there has been traditionally more attention toward cultural participation of citizens as a physiological counterpart of tourism, and especially so in Regions such as Emilia Romagna and Tuscany which, despite hosting major art cities, have not exclusively focused upon the traditional tourism-centred model, being able to connect culture with issues of active citizenship, social cohesion, and so on. In Southern Italy, after brief but intense phases of high level activity that have led cities such as Naples, Palermo, and also Cagliari to aspire to roles of national leadership in cultural and creative production, with the current economic crisis that is hitting even more intensely in this macro-region than elsewhere in the country due to the relatively lower local levels of income, employment, and human and social capital, there is a substantial risk of paralysis. The huge cuts to culture-related public spending, combined with the traditionally low ability to spend productively EU Structural Funds, make it very likely that the already weak activism in the cultural and creative sector is further impoverished in the years to come. The first example of rethinking the methodology used for cultural issue in Italy, was related to the implementation of the Structural Funds in 2007-2013. The three objectives for the 2007-2013 Structural Funds were, respectively, the Convergence Objective, the Regional Competitiveness and Employment Objective, and the European Territorial Cooperation Objective. The Convergence Objective is funded from ERDF, ESF and CF with the aim of a progressive harmonization of regional developmental path across Europe through a substantially reduction of the gaps. The Competitiveness Objective is funded by means of ERDF and ESF to defend the competitive positioning of Europe in the new digital and knowledge economy, to provide viable, successful, full-fledged models of smart, sustainable and inclusive

PROJECT CONTEXT 6. |

growth, and to organize themselves as full regional innovation systems. Finally, the Territorial Cooperation Objective is funded solely through ERDF and represents the fundamental platform for the EU cooperation on a variety of key issues and sectors. The Structural Funds program is regulated through three hierarchical levels: EU, national and regional. At the EU level, the main strategic framework is determined by the Community Strategic Guidelines (CSG), which are translated at the national level into the National Strategic Reference Framework (NSRF) and then further down into the Operational Programs, that can be defined in turn at the National (NOP), National Interregional (NIOP), and Regional (ROP) levels. It is at the OP level that the actual policy action takes its final shape and impacts on the territory. Unfortunately a huge part of the objectives has not been achieved. The gap between the North and South Italy remained and the attention for alternative culture-related developmental paradigms other than tourism related one seemed pratically nonexistent. This situation putted Italy in a very anomalous position with respect to must EU member states, especcially North-European ones. The second example of implementation of cultural activities in Italy is the European Commissionâ&#x20AC;&#x2122;s Structural Funds in 2014-2020. The main priority for Italy in the this second founds cycle should be a real undertaking of the development of a strategically coherent and effective approach to cultural and creative production and to fostering cultural participation. The main aims are: - Giving a major weight to cultural and creative industries at the NSRF level - Designing context-specific specific strategies for culture-driven local development - Stabilizing priorities and projects across the political cycle - Encouraging cultural and creative youth entrepreneurship - Finding out new (innovative) spaces for culture in traditionally non-cultural fields - Stimulating culture-driven soft innovation in non-cultural sectors - Promoting non-market-mediated forms of cultural value creation: culturally-driven

| 6. PROJECT CONTEXT

welfare, social cohesion, lifelong learning programs So, culture has an important role in this second Structural Funds and in fact the 11 thematic objectives contained in the Commissionâ&#x20AC;&#x2122;s proposal for the Common Strategic Framework 2014-2020, 5 contain a specific reference to culture. However, even if some of the objectives that do not mention culture explicitly, there are other possibilities for culture-driven initatives to be funded under them, which could have significant impact on the chosen policy targets. There is thus a vast spectrum of possibilities to design new measures and interventions that translate effectively such objectives into specific culturally-focused goals and initiatives. The thematic objectives are: - Strengthening research, technological development and innovation - Improvement of access and use of Information and Communication Technologies - Enhancing the competitiveness of SMEs - Supporting the shift towards the low-carbon economy in all sectors - Promoting climate change adaptation and risk prevention and management - Protecting the environment and promoting resource efficiency - Promoting employment and supporting labour mobility - Promoting social inclusion and combating poverty - Investing in education, skills and lifelong learning - Enhancing institutional capacity and ensuring an efficient public administration However, as mentioned above, nowadays in Italy the situation about culture and art is worring. There isnâ&#x20AC;&#x2122;t a financing planning for the future and italian regions are investing less and less resources in landscape and cultural heritage. Fortunately there are some municipalities, especially in the North of Ilatly, that are working to protect and improve their cultural patrimonies. In the following paragraph I will report few statistical data in order to give an impression of the overall situation.

Inphographic about cultural and Grap. 5 art in Italy (source ISTAT), by author

6.3 CULTURE STATISTICS IN ITALY Italy holds an incredible landscape and cultural heritage, but, as I mentioned above, it is not appropriately valued. Today Italy is one of the european countries that is investing less in culture and art, even if this may increase the opportunities for an economic revival on a global scale. The huge quantity of cultural goods is one of the most important characteristics to describe Italy worldwide. In fact, Italy has 49 places included in the Unesco’s World Heritage List. Italy is one of countries with the highest concentration of World Heritage Sites in the world (e.g. China 45 and Spain 44 World Heritage Sites). The number of italian World Heritage Sites is so high as to include almost the half of italian national territory (46,9%). 3 Ministry for the Heritage, Cultural Activities and Tourism (Mibac) has counted more than 100.000 cultural goods, including archaeological sites, architectural ones and museum ones. Every years the “Paper of Risks“ has to be enhanced in order to facilitate and program the protection, conservation and restoration operations of cultural goods. In 2013, in Italy there are more than 33 cultural goods every 100 km2, considering an increasing number in Tuscany, Sardinia and Emilia Romagna. Itì’s possible to highlight more archaeological sites Centre and South Italy and more architectural goods in the Centre-North of the Country.

3 Information System on Territory, Environment and Landscape of Mibac (Sitap), 2011. Retrieved on http://www.istat.it/it/archivio/126613 (Accessed 27 March 2016).

grap. 5

statistics of italian art and culture I TA LY IS ONE OF THE COUNTRIES WITH

THE WIDER CULTURAL HERITAGE

100.000 CULTURAL GOODS THROUGH ITALY

49 SITES

UNESCO WORLD CULTURE HERITAGE

47% Cultural sites represent almost half of the country

However, Italy is among those states that are spending less for the protection and enhancement of natural and cultural assets

PROJECT CONTEXT 6. |

6.3.1 CULTURAL ACTIVITIES STATISTICS IN ITALY 4 - Administrations’s total spending for the protection and enhancement of natural and cultural assets in Italy (2008-2012). 2008=100;

- EU Member States public spending for cultural activities. Public spending percentage and total of Pil (2011);

Protection and enhancement of natural and cultural heritage Total

% total spending % Pil

3,0

115 110

2,5

105 2,0

100

1,5

95 90

1,0

85 0,5

4 Retrieved on http://www.istat.it/it/archivio/126613 (Accessed 27 March 2016).

| 6. PROJECT CONTEXT

ROMANIA

GREECE

ITALY

UNITED KINGDOM

PORTUGAL

GERMANY

CYPRUS

BULGARIA

IRELAND

LUXEMBOURG

NETHERLANDS

SWEDEN

FINLAND

MALTA

AUSTRIA

LITHUANIA

CZECH REPUBLIC

SPAIN

POLAND

FRANCH

2012

DENMARK

2011

HUNGARY

2010

LATVIA

2009

SLOVENIA

2008

ESTONIA

0,0

- EU Member States public spending for cultural activities. Public spending percentage and total of Pil (2011); % total spending % Pil

3,0

6.3.2 CULTURAL EXPENSE AND FRUITION IN ITALY 5 After two years of crisis, the italian familiesâ&#x20AC;&#x2122;s expenditure about cultural and leisure activities is increasing. In 2014 it was EUR 66,1 billion, approximately EUR 1,4 billion more than in 2013 (+2,1%). In fact, in 2013 there had been a decrease of 5% in comparison with 2012, and of 10% in comparison with 2011. During the 2014, cultural and leisure activities spending as a proportion of the overall italian families spending is increased (6,7%), although it is still far from the levels in the period 2010-2011. However the most important thing is that the cultural spending is four time higher than the total household costs (+2% instead of +0.5%). - Italian household costs;

2,5

Expenditure ratio between the two costs

2,0 1,5 1,0 0,5

ABRUZZO

LOMBARDY

EMILIA-ROM.

LIGURIA

CAMPANIA

VENETO

MOLISE

BASILICATA

APULIA

CALABRIA

UMBRIA

TUSCANY

LAZIO

PIEDMONT

MARCHE

SARDINIA

SICILY

FRIULI V.G.

TRENTO

BOZEN

AOSTA VALLEY

0,0

7,0%

7,2%

7,1%

6,8%

6,6%

6,7%

Tot. household costs

958.715 984.224 1.014.176 1.002.367 986.252 991.572

Tot. cultural household costs

67.025

70.589

72.127

68.429

64.788

66.123

2,1%

2009

2010

2011

2012

2013

2014

variation 2013/14

0,5%

5 Retrieved on http://webcache.googleusercontent.com/search?q=cache:mhsmSiBBH1AJ:www.federculture.it/wp-content/uploads/2015/06/DATI-principali_Rapporto-Federculture2015docx+&cd=1&hl=i t&ct=clnk&gl=it (Accessed 27 March 2016).

PROJECT CONTEXT 6. |

- Italian household costs about cultural and leisure activities - 2004/2014 (EUR million);

In 2014, the cultural activities fruiction is increased also. The percentages are increased by +2,2% for the theater, +1,7 for the cinema, +7,7% for museum and exhibition and +2,2% for concerts. Only the data about book are still now in crisis Just 41,4% read at least one book during the year (-3,7% compared to 2013). - Cultural and leisure activities fruiction in Italy (in 2013-2014); 9,0%

72.127

67.357

68.429

67.023 67.025

66.123

66.000 64.625 61.664

2,2%

| 6. PROJECT CONTEXT

2,2%

1,7%

2,2%

-1,0%

-1,0% -2,0% Theater

2014

2013

2012

2011

2010

0,0% 2009

56.000 2008

1,0% 2007

58.000 2006

2,0%

2005

60.000

2004

3,3%

3,0%

Other concerts

62.000

4,0%

Classic concerts

62.452

5,0%

Museum/Exh.

64.000

64.788

5,8%

6,0%

Cinema

68.000

7,0%

Archaeological sites

70.000

7,7%

8,0%

70.589

Disco/dance hall

72.000

Sport events

74.000

The cultural activities expense and fruiction percentage is very different between the North and the South of Italy. For istance, a family in Trentino Alto Adige spends approximately EUR 165 for month and EUR 1.900 for years. On the other side, a family in Sicily spends just EUR 35,7 for month and EUR 450 for year. It is just the 22% of a Trentinoâ&#x20AC;&#x2122;s family and the 40% of the italian average. At a macro-regional approach the differences are also clear: North-East families spend EUR 125 for month, North-West families spend EUR 119, in the Centre EUR 95,7, in the South EUR 57,7 for month and finally in the Islands just EUR 38,7 for month. The cultural activities fruiction changes also according to the area of interest. For istance in Friuli Venezia Giulia region the 37,5% of inhabitants visits a museum or an exhibition at least once a year. On the other side in Calabria just the 14% and in Sardinia the 13%. At a macro-regional approach the differences remain quite similar. For istance, nowadays in the North the 33,6% of inhabitants visits museums during the years and in the South just the half part (16,4%). - Percentage of cultural activities fruiction in Italy (macro-region); NORTH

33% of inhabitants visits museums at least once a year

SOUTH

16% of inhabitants visits museums at least once a year

- Household costs for month in Italy (EUR);

2011

2012

2013

TRENTO

136,88

151,4

165,15

EMILIA-ROM.

133,36

149,49

124,60

LOMBARDY

144,14

130,8

122,08

VENETO

133,71

123,53

121,16

PIEDMONT

137,52

128,08

120,70

UMBRIA

112,24

121,66

116,35

FRIULI V.G.

122,4

116,77

110,39

AOSTA VALLEY

129,11

114,84

109,41

TUSCANY

113,09

111,22

106,24

MARCHE

104,44

109,2

103,33

LIGURIA

88,57

87,61

96,92

LAZIO

89,4

81,16

84,23

MOLISE

86,13

90,25

71,61

ABRUZZO

101,07

77,11

70,84

BASILICATA

53,16

71,32

64,45

APULIA

68,93

62,97

60,85

CAMPANIA

63,67

58,21

53,69

CALABRIA

76,15

57,56

47,82

SARDINIA

69,21

51,58

47,38

SICILY

43,54

39,36

35,73

ITALY

EUR 105,39

EUR 99,7

EUR 94,08

PROJECT CONTEXT 6. |

mare culturale urbano inauguration, Fig. 5 Milan Expo Gate, photo by Luca Chiaudano (2016)

6.4 MILAN: CULTURE AND DESIGN CITY Milan is the city of my project so I decided to analyse in deep his economical context and its main features. In this chapter I will describe Milan main characteristic, its role in the cultural field and the composition and the behaviours of its population. Milan was one of the three cities of the old Industrial Triangle, together with Turin and Genoa, in fact today, from an economic point of view, it is the main industrial, commercial, and financial centre of Italy and a leading global city. Its business district hosts the Borsa Italiana (Italy’s main stock exchange) and the headquarters of the largest national banks and companies. Moreover the city is a major world fashion and design capital. In fact from the cultural and artistic perspective Milan hosts a high concentration of the country’s cultural and creative production potential. Milan has long been considered the “cultural capital” of the country, especially for its cultural and creative production, and still mantains a prominent role in many subsectors. In fact the city hosts numerous cultural institutions and universities, with 185,000 enrolled students in 2011. Milan is also well known for several international events and fairs, including Milan Fashion Week and the Milan Furniture Fair, the largest of its kind in the world, and is the host for the second time of an Universal Exposition, the Expo 2015. From a touristic point of view, thanks to many museums, theatres and landmarks (including the Milan Cathedral, the fifth-largest cathedral in the world, and Santa Maria delle Grazie, decorated with Leonardo da Vinci paintings such as The Last Supper, a UNESCO World Heritage Site), Milan attract over 8 million visitors annually. Therefore Milan is seen as the italian cultural capital and this is the reason why mare culturale urbano saw in Milan the best italian city for the development of its project: something related with the art and culture, open to citizens but also to the entire world.

| 6. PROJECT CONTEXT

Fig. 5

6.4.1 MILANESE DECENTRALIZATION ZONES 6 From an administrative perspective Milan comprises nine zones, called “decentralization zones”, numbered from 1 to 9. The organization was established in 1997 and implemented in 1999. Each zone has a local government called “Consiglio di Zona” or “zone council”. The council has 41 members for zones exceeding 100,000 inhabitants, and 31 members for smaller zones (no zones currently fall in this category). Each council elects its own president. While the 1997 plan was intended to ascribe several rights and functions to zone councils, this has been largely unattended, so that zone councils have, in practice, little power and few duties. Some of the actual functions of zone councils are: - expressing opinions on urbanistic and social issues such as public works, town planning, maintenance of green spaces, regulamentation of street markets. These opinions are not binding for the higher level city government. - managing funds (if any) provided by the city government for specific purposes, such as those intended to guarantee the right to education for poorer families. With the exception of Zona 1, which corresponds to the historical centre of the city (defined as the part of the city that used to be surrounded by the old Spanish walls, now mostly demolished), zones are organized in a sunburst pattern, and numbered from the north-east zone clockwise. While zones are mostly referred to by number, each zone also has an official name, usually a list of its main districts or areas.

6.4.2 MILAN ZONE 7 7 A I said before, the Zone 7 of Milan is one of the 9 administrative zones of Milan. It is the most extended and populated zone and is located in the west of the city. The zone includes the following quarters: Assiano, Baggio, Figino, Fopponino, Forze Armate, Harar, La Maddalena, Muggiano, Porta Magenta, Quartiere degli Olmi, Quarto Cagnino, Quinto Romano, San Siro, Valsesia and Vercellese. In particular the neighbohood of my project is Quarto Cagnino, one of the oldest site together with Quinto Romano, Figino and Baggio. Each quarter have its services and structures for education and social aspects of the neighborhood life. So they look like separated sectors without any dialogue between the oldest quarters and the more recent construction. Inside the ERP buildings there is a high concentration of foreign population (30k units), with lowest incomes and with an high school dropout rate. These areas of the Zone 7 are characterized by urban decay and social deviance phenomenons and consequently by many association for citizens and the territory. In particular, Quarto Cagnino, my project area, is one of the oldest neighbourhood and has a lot of parks (Trenno, Bosco in Città, Parco delle Cave and Parco Agricolo Sud). In spite of these wide green places, there are also other sites densely populated with flat and housing estates without any kind of services. Quarto Cagnino is placed near the neighbourhood of San Siro and Harar and has not meeting places for people although it hosts 9k citizens. The majority of commercial activities and services are concentrated only near Via Novara and Via Forze Armate.

6 Some information retrieved on https://en.wikipedia.org/wiki/Zones_of_Milan (Accessed 28 March 2016). 7 Some information retrieved on https://en.wikipedia.org/wiki/Zone_7_of_Milan (Accessed 28 March 2016).

PROJECT CONTEXT 6. |

Summary of Milan Data Grap. 6 (source ISTAT), by author

The Zone 7 is also characterized by several urban gardens some of which are abusive (for istance the one in Via Domokos). Other places of interest in this area are the Ospedale San Carlo Borromeo, the Meazza Stadium, the San Siro Ippodrome, the Caserma Santa Barbara and ATM deposit of Via Novara. These areas are characterized by strong identity. As mentioned above, the Zone 7 has few meeting spaces and cultural and entertainment services. Some of these are the Auditorium Grande, the Auditorium Piccolo and a gym reserved to the local associations only. The Zone 7 Council give also the possibility of renting some scholastic spaces. mare culturale urbano has built a huge activity of community involvement, working also with the strangers that usually are marginalized. The mission is involving people of the quarter inside the project, trying to create a strong community identification with the project itself. In fact citizens will be the first target of mareâ&#x20AC;&#x2122;s cultural centre and itâ&#x20AC;&#x2122;s necessary that it is approved by the neighbors. The possibility of designing my thesis in collaboration with mare culturale urbano, have given me the possibility to understand better the community situation and some specific social dynamics. My project was deeply influenced by a lot of experiences that I have done in field, inside the community and this determined some results of the design project. Moreover, mare culturale urbano has its office inside the cohousing Cenni di Cambiamento in Quarto Cagnino, near Cascina Torette di Trenno, so I worked everyday inside this neighbourhood, having the possibility to analyze in depth the quarter discovering a list of opportunities and the needs of neighbors. In the next paragraphs I have reported some data about population in Milan, focusing on the Zone 7 and on the quarter called Quarto Cagnino. Finally I have reported some information and statistics about cultural and leisure activities in Milan, to support my thesis project.

| 6. PROJECT CONTEXT

milan population data

Grap. 6

1.618.120 MILANESE

1.353.882 italian

P O P U L AT I O N

264.238 foreign

QUARTO CAGNINO

9453

9,8%

MOST FROM

EGYPT

foreign

INHABITANTS

225.076

197.148

215.239

163.525 1

109.601

ZONE 7

201.937 6

172.983

186.579 5

15,4% foreign

146.032

6.4.3 MILAN ZONE 7 STATISTICS 8 - Dominant nationalities in Zone 7 (15,4% of foreigns);

- Foreigners for NIL in Zone 7;

NIL

Foreigners

Inhabitants

Report

Dominant nation

2.913

26.391

11%

Philippines

194

3.028

6,4%

Ecuador

v.a.

51 Washington

Philippines

5.419

54 Muggiano

Egypt

5.055

16,8

55 Baggio

5.061

29.295

17,2%

Philippines

Peru

2.809

9,3

56 Forze Armate

4.039

23.785

16,9%

Philippines

Romania

1.992

6,6

57 Selinunte

9.136

26.342

34,6%

Egypt

Sri Lanka

1.588

5,2

58 De Angeli

2.746

20.755

13,2%

Philippines

Ecuador

1.474

4,9

60 San Siro

2.594

12.893

20,1%

Franch

Morocco

1.395

4,6

61 Quarto Cagnino

927

9.453

9,8%

Egypt

China

1.295

4,3

62 Quinto Romano

456

4.867

9,3%

Philippines

Ukrainian

938

3,1

63 Figino

303

1.728

17,5%

Romania

NATION

8 Retrieved on https://www.comune.milano.it/wps/portal/ist/it/amministrazione/datistatistici (Accessed 28 March 2016).

PROJECT CONTEXT 6. |

- Milanese household costs about non-food goods (2013);

- Milanese household costs about culture activities and free time (2009-2010);

Downtown

Near town centre

Suburbs

Tot. families

Tobacco

Apparel & Footwear

Dwelling

582

457

401

434

Fuel & Energy

Home furnitures

192

188

130

156

Health

143

118

110

115

Transports

359

272

259

271

Communication

Education

Culture & Hobbies

140

128

107

117

Other services

382

381

342

360

Monthly rent

889

689

614

661

Monthly mutual

Non-food goods

3.063

2.593

2.320

2.475

342

481

913

Families interwieved

| 6. PROJECT CONTEXT

Cinema, theater, concerts and museums Books, newspapers and magazines Sport and sporting goods

€ 35,1 € 32,2

€ 33,3 € 28,0 € 17,2

€ 13,4

2010

2009

Free time costs than cultural one compared with 2009

+4,1%

Free time and cultural costs than the total costs

5,5%

Free time and cultural costs than the total non-food costs

6,3%

- Milanese library entries (2007-2010);

- Milanese household costs about culture activities and free time (2009-2010);

Registrations Loans

Film exhibitors Cinema 1.071.901

1.018.396

33 24

80.520

1.020.013 72.371

1.090.376

95 73.956

2008

18 86 82

70.216

2007

2009

2010

2007

2008

2009

2010

- Milanese library loans by typologies (2010); Books and Magazines: 348.840 Audio-Visual materials: 679.480 Video: 62.056

PROJECT CONTEXT 6. |

7. mare culturale urbano

7. mare culturale urbano 7.1 WHAT IS MARE CULTURALE URBANO? 1 mare culturale urbano was established In January 2014 with the name of BAAM! Srl. The company’s main goal is buiding a cultural centre in Milan, in particular in the Zone 7, focusing on cultural innovation, social inclusion and urban regeneration. The founders are Paolo Aniello, Andrea Capaldi (who becomes President) and Benedetto Sicca. They are also the members of the Board of Directors of Social Enterprise Ltd. In 2014 the founder found external professionals with different skills from each other in order to develop the project in the better way. At the end of the year, the group was constituted by 13 people and started a stable collaboration with Landscape coreography and Cohabitation Strategy. In June 2014, mare culturale urbano wins the invitation to tender for the allocation of a plot of land in Via Novara 75, with concession in free loan for 30 years by the municipality. At the same time mare culturale urbano was charged in the management plan of Cascina Torrette di Trenno by Fondazione Housing Sociale and Polaris SGR (later Investire Immobiliare SGR). mare culturale urbano was also selected by the European Commission to join the European Platform of Smart Cities and Cariplo Foundation allocated the appropriate financial assistance for the “Arte in Borgo” project. Moreover mare culturale urbano participated in the tender launched by Edison, with Wiceversa project for the construction of a crowdfunding / crowdsourcing platform that was selected among the best 20 projects. In April 2015 BAAM! changed its name to mare culturale urbano srl social enterprise, while maintaining legal and corporate composition form. As mentioned above, mare culturale urbano is an innovative project of cultural

1 More information on http://maremilano.org/ (Accessed 29 March 2016).

| 7. MARE CULTURALE URBANO

revitalization, social and urban planning for the city of Milan. mare culturale urbano proposes a model intrinsically linked to welfare issues, the smart communities and smart cities and is based on the enhancement and territorial development through three main areas of work: cultural innovation, urban regeneration and social inclusion. mare culturale urbano believes that knowledge, exchange, production and consumption process represent levers of social and economic mobilitation. Working for a systemic evolution of these processes, promoting a hybrid approach among categories is the innovative challenge that mare culturale urbano wants to entrust culture with. mare believes in culture as the main actor of a positive conflict between growth and wellbeing, production and knowledge. There is no individual or space in which mare can’t find culture and meanings because it works to let this collective heritage emerge, trying to scale its impact and significance. The second area of interest is about territories and communities starting from the relation between space and individuals. I’m talking about inhabited areas and interstizial segment of urban land, vacuums of living segments, crossed or sedentary spaces, private and public dimension. These non-homogeneous relations can both determine life habits and at the same time receive influence, function and determination depending on the type of fruition and public representation they assume. mare culturale urbano, moving from two physical spaces, Via Novara 75 that is a post-industrial abandoned brown field and Cascina Torrette di Trenno, an historical farmhouse that has lost its original productive and social function, is starting to “occupy” the surrounding public space with an integrated approach that merges theory, research and field work. Reestablishing the centrality of the spaces that

mare culturale urbano flayers, Fig. 6 photo by Luca Chiaudano

Fig. 6

have lost their original function, redefining the dialectic relationship with their urban context and “putting people first” are some of the mare’s main goals. Finally the social inclusion is an other important value in a dynamic society. The contemporary urban context influences the quality of life and of human relations and determine strong selection for the access to knowledge. Mainstream approaches to social and urban development are determining the marginalization among individuals, creating inclusion/exclusion system with the result of more fragile and less resilient territories. It’s fundamental the adoption of theoretical and practical instruments to reduce the gap for wealth access in our communities. Building new balances among social actors, together with a redistribution of individual and collective, private and public responsibilities, must drive us to a new form of cultural for each individual and society as a whole. In this context mare culturale urbano intervention and planning has the aim to regenerate physical spaces to be returned to the community, stimulating the artistic practices through the potential of the area and involving institutions, for social promotion and activities related to community welfare. mare culturale urbano operational headquarters is in Via Gabetti 15, in Quarto Cagnino district and in particular inside the co-housing Cenni di Cambiamento. The area hosts around 180,000 residents. It is a low-density population area, if compared with the rest of the city. The involvement of local actors, the relationship with the neighborhood, the local understanding and the dialogue with the community is one of the central aspects for mare cultural urbano. The collaborations on specific projects (e.g. Social Housing Foundation), the regular exchange of experiences and practices with local associations, the participation in the development of public policies (Council of Zone 7), the interest for local community, are clear example of mare’s activity. mare culturale urbano ambition is to achieve international visibility, for the quality and relevance of artistic and cultural proposal, which pursues this goal through a government policy introducing innovative elements in the artistic and social management practices. MARE CULTURALE URBANO 7. |

mare culturale urbano, Fig. 7 Via Novara 75 prototype

Fig. 7

7.1.1 MARE MISSION mare culturale urbano wants to contribute to the territorial development of marginalized urban areas through an integrated approach to urban regeneration methodologies, social inclusion projects and cultural innovation processes. The integrated approach is the basis of mare’s mission. The complementarity of the internal competencies and the analysis of abandoned spaces represent the central node to bring social innovation from theory to practice. 7.1.2 MARE PURPOSE Mare culturale urbano wants to be a cultural center, a place where it’s possible to live a plurality of artistic nature experiences, social and recreational ones. It’s a place in which each of these experiences is made available in a variety of forms (performances, workshops, seminars, etc.) and spaces (Via Novara 75 and Cascina Torrette di Trenno) and all the activities hosted inside, such as bars, restaurants, spaces for performing activities, open spaces, etc. Because of its multi-faceted nature and its own vocation, mare culturale urbano project is proposed as an idea open to all and for all, a very fair place in which to put aside prejudices and particularism in favor of inclusion without barriers, both cultural or physical. mare culturale urbano wants to design a space in which everyone can find his own role in the society. 7.1.3 MARE PROJECT IDEA mare culturale urbano is working in two physical spaces. The first one is a new building that will be built on the plot of land in Via Novara 75, on loan free for thirty years. Mare’s idea is to realize an innovative buiding for cultural, social and educational activities.

| 7. MARE CULTURALE URBANO

The second one is Cascina Torrette di Trenno, an old farmhouse dating back to 1600. During the past it was a place of life and work, but now far from the original energy because it was abandoned and disused for many years. This charming place is characterized by a large courtyard, open in the middle of the farmhouse. Cascina Torrette di Trenno is scheduled to open in the spring of 2016. So the space will give back to the community and the neighborhood. The farmhouse becames the place from which get start the action of social development, from which to emerge and gradually build a public dimension, featured by open knowledge, customs and local relations. Cascina Torrette di Trenno will house facilities for artistic creation, training areas, theaters and open-air concerts in the courtyard, a popular library, a bar, a restaurant and a space of co-working with 44 stations.

Cenni di Cambiamento, Via Gabetti 15 (MI), Fig. 8 photo by author

Fig. 8

7.2 MARE HEADQUARTER: CENNI DI CAMBIAMENTO mare culturale urbano has its headquarter inside the innovative co-housing building, called Cenni di Cambiamento. 2 Now I’d like to talk about this unusual residential complex because it could become the first mare’s target, especially the Cascina Torrette di Trenno one?? because of its position. In fact, Cenni di Cambiamento has been built on the old fields of the farmhouse. Cenni di Cambiamento is the greatest european residential project, totally built through wooden structures. It’s an innovative project that fosters new way of living, based on a more sustainable and collaborative concept. The project provides for a lot of collective services and spaces, dedicated to leisure and culture activities, especially for young people. For istance there is a collective library, a space dedicated to convivial meals and an open playground for children. Moreover, Cenni is also characterized by several commercial activities (e.g. the coffee shop Oplat and other services). Finally, the aim of this innovative project is the creation of a space to enable and facilitate good neighbourly relations, within a safe and sympathetic context. In 2013, mare culturale urbano started a collaboration with Fondazione Housing Sociale and Investire Immobiliare srl, which had identified mare culturale urbano as a good partner for the Cascina Torrette di Trenno management. Moreover, to facilitate the design of the space and the services offering, they gave to mare an office space inside Cenni di Cambiamento.

2 More information on http://www.cennidicambiamento.it/index.php (Accessed 29 March 2016).

MARE CULTURALE URBANO 7. |

“Festa in Borgo”, Fig. 9 by mare culturale urbano, photo by Luca Chiaudano (2015)

7.3 MARE COMMUNITY ACTIVITIES 2 mare culturale urbano is a dynamic and active start-up, especially due to several activities designed in the territory and for the community. Thanks to several collaborations and partnerships, mare has the possibility to organize a lot of events and workshop around the city, especially involving citizens of Zone 7. mare culturale urbano is part of the network of Trans Europe Halles, Impact Hub and European Innovation, it has a partnership with Smart Cities and Communities, Conciliamilano, Milano Sharing and it is starting a collaboration with the Municipality of Milan, Zone 7 Council, Fondazione Cariplo and Banca Prossima. Among the projects, we can cite, for example, a project of artistic sperimentation called “attivazioni urbane”, in english “urban activation”, that it’s started in 2013 with the fundamental collaboration of Landscape coreography and Cohabitation Strategy. Another project is “mare per tutt*!”, “sea for everyone!”. It’s the mare culturale urbano teaser campaign. The meaning is that mare wants to bring in Milan something that doesn’t exist till now: the sea, or better a new awareness of art, cuture and social innovation. An other project is related with the Figino quarter in which mare culturale urbano has activated an event, “Arte in Borgo”, thanks to the collaboration with Cariplo Foundation, during the October 2015. It’s an artistic networking and artistic residences project, dedicated to international professional artists in the visual art field. The main aim is the encounter and the collaboration between artists and the community. In the summer of 2015, mare culturale urbano organized summer season events (“dopo andiamo al mare”, in english “after we’ll go to the sea”) inside the ex-school

2 More information on http://maremilano.org/cat/attivazioniurbane/ (Accessed 29 March 2016).

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Fig. 9

mare culturale urbano inauguration, Fig. 10 Milan Expo Gate, photo by Luca Chiaudano (2016)

Fig. 10

L. Manara with to aim of give back to the community a collective space animated by dancefloor, cineforum and food. Another project is “zona 7 mon amour”, an operative tool to increase and develop the zone potentialities. “f***ing good talent” is the first talent show in the milanese western suburbs with the aim to rethink job possibilities. “Unity” is a writers, rap and performances workshop handled by Diamante with the collaboration of Spazio Teatro 89. Another interesting project is “il futuro era ora!”, “future is now”, directed to the children of a multiethnic school of the quarter with the aim to create good citizens for the future. “R come repubblica”, in english “R as republic”aim to rethink a collective imagination able to change our perception of reality. Finally, I will talk about a project started in February 2016 and called “#cotruirelimprovviso”, or “#unexpectedconstruction”. It’s a self construction laboratoy to design most of the furnitures for Cascina Torrette di Trenno. Recently mare culturale urbano has organized an event to present its project to the city of Milan. The event took place in Expo Gate between 15 March and 20 March. It’s clear how mare culturale urbano is trying to involve a lot of different stakeholders, from citizens to the associations, from big organizations to the small local commercial activities. Many stakeholders and many layers of involvement: this is the mare culturale urbano path from the beginning of its process. Mare never forget the community, never stop the dialougue with citizens. The aim is the creation of a strong relation between the project and the neighborhood in order to generate good possibility for a better future.

MARE CULTURALE URBANO 7. |

7.4 MARE INSPIRATIONS mare culturale urbano has a clear idea of its role both on an local-scale context and on an international one. As mentioned above, mare wants to make culture and art the centre of attention because our society is forgetting their values and importance. The identified solution is the innovation of the art and cultural offering. In this way mare culturale urbano is trying to attract new and young target, involving all the territory and creating opportunities for a better future. The cultural design process is based on specific key words, such as sharing, inclusion and collaboration. In fact, according to mare culturale urbano, social inclusion in a fundamental value to stard a process of urban regeneration and cultural flowering. The starting point for mare culturale urbano’s project was the neighbourhood in which mare has its headquarter: Quarto Cagnino. It was the experimental places that has given to mare culturale urbano the proper expertise before the inauguration of Cascina Torrette di Trenno (scheduled for spring 2016) and Via Novara 75 (scheduled approximately for 2017). mare culturale urbano approach is closed with local context but it strives for international Cultural Centre examples. In fact, mare culturale urbano wants to builts an unique place in Italy starting from the analysis of some well-known inspirations, such as Matadero in Madrid, Subtopia in Stoccolma, Kaapelitehdas in Helsinki, Undergound Village in London, Vooruit in Gent, Stanica in Zilina and others around the world. I’m going to analyze in depth those interesting examples in the following paragraphs in order to introduce the project in the next chapter.

3 More information on http://www.mataderomadrid.org/ (Accessed 30 March 2016).

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7.4.1 CASE HISTORY: MATADERO, MADRID 3 Matadero in Madrid is a living and changing space for creative processes, participatory artistic formation and dialogue between the arts. A special part of Matadero’s mission is to stimulate contemporary creation, taking on an approach which not only is multidisciplinary, but also aims to surpass boundaries between the arts. All forms of artistic expression are considered: performing arts, cinema, music, design, architecture, urban and landscape planning. Matadero’s commitment to diversity is also reflected through its model of institutional cooperation between the private and the public sector. Such a model promotes people’s participation in the project and guarantees plurality, independence and viability. Matadero and its institutional partners promote the formation not only of artists but also of its audience. It encourages the production of artistic work and the diffusion of local culture at both national and international levels. These three fundamental lines of action express themselves through a series of aims such as: - stimulate creation through open calls, as well as facilitate artists’ access to necessary resources - give special attention to the diffusion of artists’ work, based in the city of Madrid - become a center of encounter between cultural professionals, artists and the audience - promote the production of new artistic work by both local and international artists. - contextualize artistic creation in its time and relate it to other public spheres - promote reflection on cultural construction processes

Matadero, Madrid Fig. 11

Fig. 11

- awake public interest for culture and create a new artistic audience - become a central venue for the Madrid’s main events and important international events linked to contemporary creation - establish a national and international collaboration network between similar spaces in order to initiate common projects - promote the organization of common activities between all institutions within the Matadero project Since the promotion of contemporary creation is an essential part of Matadero Madrid, a variety of projects has been initiated to help artists: Support to the production of artistic work: As a main means of assistance, Matadero promotes an aid scheme to support creativity. Established in 2006, it has become one of the main channels of promotion for artists, collectives and the city’s cultural agents. This aid scheme covers a variety of needs. It supports alternative spaces, collectives and cultural agents in the development of their work in Madrid. It also helps artists to produce and display their latest work in the Matadero. Creators’ Archive in Madrid: Founded in 2009, it is an initiative which aims to give more visibility to artists from Madrid or those living in the city. The archive, which is in its first phase, focuses on visual and plastic artists under 35. It is both a physical space, located in Matadero Madrid’s Coordination Office, and a virtual space. All references are available in Castilian and English.

MARE CULTURALE URBANO 7. |

Subtopia, Stockholm Fig. 12

7.4.2 CASE HISTORY: SUBTOPIA, STOCKHOLM 4 Subtopia is a spacious suburban centre in Botkyrka municipality in the south of Stockholm, Sweden. It hosts contemporary circus, film studios, urban art, dance, music and more services. This is where artists, film producers, circus companies, NGOs, bands and other creative people follow their dreams and try to make the world a little better. Subtopia houses over 80 organizations, companies and educational institutions and 200 people come to work here every day. Subtopia is the hub in this network of people and ideas. It serve as a platform where organizations and individuals get the chance to develop their creativity on their own terms. The hard and soft infrastructure here is designed to make flourish new ideas and to facilitate innovation. Subtopia is involved in different projects ranging from circus productions, urban development and film support to commercial events. The main focus is on contemporary Circus, film production and urban art but the organizations within Subtopia work with a diversity of art forms including music, theater, dance, public art, mask making and more. The Subtopia organisation is working strategically to foster innovation and creativity based on the Quadro Helix method, which entails the four sectors culture, business, education-research and social engagement to collaborate. This create the conditions needed for people, ideas and organisations to develop in sustainable way. Amateurs, professional talents and excellences join forces at Subtopia and in the projects they work with. Letting them inspire one another and cross-fertilise one anotherâ&#x20AC;&#x2122;s ideas helps make Subtopia such a dynamic meeting place.

4 More information on http://www.subtopia.se/start-page/ (Accessed 30 March 2016).

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Fig. 12

Kaapelitehdas, Helsinky Fig. 13

Fig. 13

7.4.3 CASE HISTORY: KAAPELITEHDAS, HELSINKI 5 The Cable Factory is the largest cultural centre in Finland. It houses 3 museums, 12 galleries, dance theatres, art schools and a host of artists, bands and companies. Unique spaces are also available for rent on a short-term basis to stage concerts, exhibitions, festivals and fairs. Around 900 people work at the Cable Factory on a daily basis, and each year over 230,000 people attend special events. The Cable Factory is also a member of Trans Europe Halles. The Cable Factory covers a total area of 56,000 square metres, of which 35,000 square metres are rented out to over 250 tenants on a long-term basis. The five largest spaces are rented out on daily basis for special events. Foyers, corridors and staircases alone cover an area of over 7500 square metres. The Cable Factory occupies the premises of an old factory which initially produced telephone and electrical cables. The building converted in 1991 into a fully independent cultural centre aimed at providing an area of artistic diversity with cross-cultural linkages. It offers permanent and short-term space for different fields and forms of art and education. The aim is seeking an effective team of tenants that supports their overall development, as well as each otherâ&#x20AC;&#x2122;s activities. The continuous change in the physical environment serves as a reminder that the world is never complete. The company KiinteistĂś Oy Kaapelitalo is responsible for renting, maintaining and developing the facilities. The company is owned by the City of Helsinki. From the beginning of 2008 the company has also administered the historic power plant area in Suvilahti.

5 More information on http://www.kaapelitehdas.fi/en/info (Accessed 30 March 2016).

MARE CULTURALE URBANO 7. |

Underground Village Fig. 14

7.4.4 CASE HISTORY: UNDERGROUND VILLAGE, LONDON 6 Part creative community, part arts venue, Underground Village is a non-profit space for creativity and culture in the heart of East London. The main Underground Village centre is housed in a renovated turn-of-the-century warehouse primed for everything from concerts and club nights to exhibitions, theatre, live art and other performances. High above Great Eastern Street, atop the venue, four recycled Jubilee line train carriages and shipping containers make up the creative studios of Underground Village. These uniquely renovated spaces accommodate up to 50 artists, writers, designers, filmmakers, VJâ&#x20AC;&#x2122;s, and musicians working side by side in a creative community. In addition to being a cultural centre, Underground Village is an ecological project. From recycled trains and shipping containers, to reclaimed sleepers, staircases, furniture and flooring, it believes in reusing before recycling. All studios are virtually carbon neutral. Our electricity is 100% green energy from wind turbines. The living roof increases biodiversity, dampens concert noise, reduces urban heat, absorbs carbon emissions and provides insulation, cutting fuel consumption and minimizing environmental impact. Village Underground was born of the need for affordable, environmentally stable studio space for artists in central London and the Broad Street Rail Viaduct seemed suitable for a cultural centre. The Viaduct was built in 1848 and had been derelict for over 20 years and had self seeded into a meadow with trees and wildlife. The main renovations took place over the course of a year, just in time for our opening April 2007.

6 More information on http://villageunderground.co.uk/archive/all (Accessed 30 March 2016).

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Fig. 14

Stanica, Zilina Fig. 15

Fig. 15

7.4.5 CASE HISTORY: STANICA, ZILINA 7 Stanica Cultural Centre has occupied the old station building of the still operational, Zilina-Zariecie train station since 2003, combining the roles of independent venue, artistic laboratory and activists’ collective. On the white map of today Stanica strives for be a culture node - creative, educative and critical. It continues the story of a small train station, where people stop as they’re passing by, to share news and experiences from their travels. Truc sphérique, non-governmental organization for contemporary arts and culture was founded in 1998 in Zilina. The organisation opened Stanica in 2003, where we run a gallery, workshop and artists residency space, a cafe, a waiting-room, and a multifunctional presentation venue for theatre, dance, concerts, discussions and screenings. Besides that there is also huge outer space open to the public with a garden, park, summer stage, and a children’s playground. Each week there are several different children workshops, taking place almost daily and, on average, two or three artistic events. In 2009 we also launched the venue S2, an alternative construction of beer crates and straw bales. Stanica is not just the next cultural center in the town or region, but a platform for information, research, and realization of experimental art, cultural and community projects and international and inter-sector communication that lead activities to other institutions and across our European networks, including Trans Europe Halles.

7 More information on http://www.stanica.sk/en/ (Accessed 30 March 2016).

MARE CULTURALE URBANO 7. |

8. Cascina torrette di trenno

8. Cascina torrette di Trenno 8.1 FARMHOUSES IN MILAN 1 It is not possible talking about Milan without mentioning its numerous farmhouses. They are architectural buildings characterized by a great historical, cultural and environmental value. This farmhouses have testified the agricultural vocation of Milan throughout the centuries. In the words of Bonvesin de la Riva in the “De magnalibus Mediolani” (1288): “...sunt mansiones extraordinarie, quarum quedam molandina, quedam vulgo cassine vocantur, quarum vix possem perpendere numerum infinitum”. Even today this sentence still seems truthful. In fact the milanese urban region is characterized by many park areas in which survive more than 500 farmhouses, especially near the Parco Agricolo Sud. Among them, more than 50, are inside the administrative boundaries of Milan. In fact some of them were incorporated into the city boundaries and lost their agricultural fields. However, others kept their agricultural activity thanks to the proximity with agricultural fields or park areas. Unfortunately the majority were abandoned and were under-utilised, causing the lost of an architectural heritage of great value. So, even if these farmhouses represent the identity of Milan and important economic, housing and service centres, they were abandoned and forgotten in the past decades and many farmsteads fell down losing their activities, their fields and their role in the society. Fortunately in the last years the milanese farmsteads have been taken again into consideration but with a different point of view. The possibility to requalify this patrimony was seen as an important resource for architecture but also for the

economy and for the safeguard of the territory. This requalification project idea began to emerge in 2009, when the Centro Studi PIM and the Multiplicity lab. of Politecnico di Milano, in collaboration with Vita, Conldiretti, Consorzio Sir and Slow Food and Milan municipality, began to think about milanese farmstead as a fundamental added value for the Expo 2015. 8.1.1 CASCINE EXPO 2015 Cascine Expo 2015 project began to be developed in 2009, with the main aim to revitalize the great network of farmhouses in the Milan region. The first step was the census of all this huge architectural heritage in order to clusterize them according to their condition and activity. Then the Milan municipality gave many unused farmsteads to third sector organizations or local associations to promote the emergence of social and cultural activities for citizens, such as: accomodation centres, social centres, cultural, art, music and free time activities spaces. Nowadays those farmsteads are laboratories of social integration and important reference points in the city. Milan municipality in collaboration with Expo 2015, had invested in this project, thinking back to farmhouses as active and alive place albe to seek a new relationship between the city and the agriculture. The project involved many stakeholders, social enterprises, fundations of private entrepreneurs and others interested in the management of the farmsteads. The activities planned were in part related with agriculture and in part closed with other sectors, such as hospitality and voluntary work.

1 Information retrieved on http://www.agricity.it/wordpressinst2/wp-content/uploads/Download/CascineExpo2015_Low-Def.pdf (Accessed 29 March 2016).

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Cascina Grande, Gaggiano (MI) Fig. 16

Fig. 16

Moreover, the project aim was not just related to the requalification of the old buildings but also to the recovery of the entire territories in which the farmsteads are located. Today many farmhouses are the terminal to the heart of Milan to enhance a proximity agriculture. They become local markets, urban gardens, places of training and education about organic farming, but also shools for children, restaurants and so on. Farmhouses are actual mixed use places, dedicated to the four city vital issues: agriculture, food, living and territory safeguard. Starting from the Expo 2015 mission (experiment a more sustainable way of living inside the city), milanese farmhouses become places to promote and experiment a sustainable agriculture and an high quality food, enabling social innnovation and awareness among the big issues of our society. Going into the detail of my thesis, Iâ&#x20AC;&#x2122;d like to introduce Cascina Torrette di Trenno that is the place in which my project took place. It was one of the farmhouses included into the Expo 2015 project with the aim of being regenerated in a urban innovation perspective.

CASCINA TORRETTE DI TRENNO 8. |

Cascina Torrette di Trenno over the centuries Fig. 17

Fig. 17

Cascina Torrette di Trenno, Via Quinto Cenni 11 (MI), Fig. 18 photo by author Cascina Torrette di Trenno, 1722 Catasto Teresiano, ASMI, Cadastre

8.2 CASCINA TORRETTE DI TRENNO 2 Today, Cascina Torrette di Trenno is still in a process of restructuring and is going to be open in May 2016. mare culturale urbano, social enterprise, is actually management the project of the services offering with the aim to transform the old farmhouse in an innovative cultural centre for the revitalization of the neighbourhood. Cascina Torrette di Trenno is located near Via Novara that in the past connected Milan to the Ticino. The context is densely urbanised and characterized by many residential buildings. Cascina Torette di Trenno is surrounded by the historical barrack Forze Armate (South), the warehouse of ATM (North-West) and the cohousing Cenni di Cambiamento (West). Moreover the Stadium Giuseppe Meazza is not far from the farmhouse. Cascina Torrette di Trenno has lost its agricultural function since 2011, but it has maintained its rural aspect and its important role for the identity of the neighbourhood. This strong relation with citizens, allowed it to survive in spite of the urbanization of the quarter that have affected also its field, where currently is located the co-housing Cenni di Cambiamento. In the 16th century Cascina Torrette di Trenno was mentioned for the first time, on the map of Milan by Giovanni Battista Clarici. It was known as Torretta, probably because in the past there was an ancient roman guard tower. In the 18th century the farmhouse become the property of monks Barnabiti and was represented in the maps with a â&#x20AC;&#x153;Câ&#x20AC;? schape until the last century, when was added a portico to close the open side. The Milan municipality purchased Cascina Torrette di Trenno in 1938, preserving its agricultural function till 2011. The recovery has been initiated in 2015, following the same vein of the project Cenni di Cambiamento.

2 Information retrieved on http://www.agricity.it/cascine/elenco-cascine/cascina-torrette-ditrenno/ (Accessed 01 April 2016).

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Cascina Torrette di Trenno, 1865 Catasto Lombardo-Veneto, ASMI, Cadastre

Cascina Torrette di Trenno, 1902 Cessato Catasto, ASMI, Fondo Cadastre

Fig. 18

CASCINA TORRETTE DI TRENNO 8. |

Zone 7 urban contex map, Grap. 7 by author Cascina Torrette di Trenno urban context, photo by author

Fig. 19

8.2.1 THE URBAN CONTEXT “Procedendo verso nord-ovest troviamo, ai margini di un ambito densamente urbanizzato della zona 18, la Cascina Torrette di Trenno [...]. É localizzata tra una grande caserma, una rimessa per i trasporti pubblici e un quartiere residenziale” Assessorato al Demanio, 1977 As mentioned above, Cascina Torrette di Trenno is located near Via Novara and the Stadium Meazza, the warehouse of ATM, the barracks Forze Armate and the co-housing Cenni di Cambiamento. It is a residential area with an high percentage of foreign population. This multiethnic environment needs to find a new identity in order to improve the life quality of the quarter. It’s important making people feel part of the city in an active and innovative network system. Going in depth, my project, starting from mare’s project idea and mission, want to regen the broken link of an unstable and heterogeneous society. Quarto Cagnino area is characterized by big supermarkets, pharmacies, little bar and coffe shops but has a poor endowment of services for the community, especially services related to cultural and leisure activities. In spite of the big parks around the zone 7 in wich is possible to take a walk, play sport and other relaxing activities, the project area has not gathering places, collective buildings and meeting spaces: citizens have to move towards the city centre or other zones. This is one of the big issues highlighted by mare culturale urbano in its project idea, thus the creation of a multi-centre city in which the periphery has so much to offer in terms of added value and services. In this way Cascina Torrette di Trenno, located in the middle of the neighbourhood, become part of a bigger project that aims to transform Zone 7 in an attractive cultural, artistic and creative area for people from Milan and from outside also.

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ZONE 7 URBAN CONTEXT

grap. 7

ZONE 7

Stadium Giuseppe Meazza

Warehouse of ATM Cenni di Cambiamento

Cascina Torrette di Trenno

Barracks Forze Armate

Fig. 19

CASCINA TORRETTE DI TRENNO 8. |

Thematic areas map, Grap. 8 by author

8.3 BEHIND THE PROJECT DEVELOPMENT My collaboration with mare culturale urbano started in September 2015 with the main aim of taking me towards the thesis project. On the other hand, mare culturale urbano took advantages from my skills and competencies for the definition of the offering map of services in Cascina Torrette di Trenno. The integration within the working group was facilitate thanks to the openness of my mare’s tutors, Ilaria Morganti and Sergio Galasso, who have followed me in each step of the collaboration and in part of my thesis development. In September 2016, mare culturano urbano was already working on the project of Cascina Torrette di Trenno, following every steps of the restructuring process from its headquarter in Cenni di Cambiamento. Moreover mare was deeply working on many other activities focused on cultural innovation, social inclusion and urban regeneration in order to create strong ties with the community and a networking system with local administrative authorities. The first collaboration period with mare culturale urbano allowed me to understand deeply its new approach for local development in urban and suburban contexts. In fact mare’s projects for (and with) the community are always figured to create a new people generation for the future society, an awareness and more collaborative local administration and an inclusive and safe environment in which create the requirements to a new cultural flowering. In the next years, mare culturale urbano is going to develop its activities mainly in two neighboring areas, Cascina Torrette di Trenno and Via Novara 75 (under construction in 2016). These location will host community spaces, cinemas, recording studios, rehearsal rooms, art ateliers and educational areas, a café and bistrot, a courtyard, a large public green area and an open passageway towards the city. As already mentioned, me and mare culturale urbano worked more on the design of Cascina Torrette di Trenno because it is scheduled to open in the spring of 2016. The farmhouse will host co-working space, rehearsal rooms, training programme,

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renting room for private event or companies activities, a restaurant, a repair cafe, artistic and cultural events and a collective farmyard. The definition of these activities was not easy and has required a long and complex design process that has involved all the mare’s team. The opinions and the point of views of everyone were taken into consideration, in order to obtain a clear framework of the entire services setting. The design process has been developed through an internal co-design session structured into six thematic areas: - Food service - Co-Working - Training service - Rehearsal rooms - Renting rooms - Merchandising To each thematic area corresponded a group of almost 3 people that had to work in team, sharing opinions and ideas about the specific theme. I workend in team with Maddalena Fragnito and Andrea Capaldi (cofounder and CEO) focusing more in food service and merchandisign activities. The results of the co-design were schematise in order to deduce the greatest possible range of advices and insights. This was a good starting point for the Cascina design because the team shared ideas and suggestions about the project, discovering an unique set of values and feelings. At the same time we worked on the positioning of the activities in the map of Cascina Torrette di Trenno, paying attention to the rooms dimention and orientation. In the next pages I will report all the information retrived from the co-design session in order to give a general idea of the project concept.

grap. 8

THEMATIC AREAS CASCINA TORRETTE DI TRENNO

FOOD SERVICE

CO-WORKING

TRAINING SERVICE

REHEARSAL ROOMS

RENTING ROOMS

MERCHANDISING

CASCINA TORRETTE DI TRENNO 8. |

8.4 CO-DESIGN SESSION DATA 1. Quali sono i principi che vi siete dati per costruire la vostra idea?

100

FOOD SERVICE

I principi legati all’attività della ristorazione corrispondono in parte alla filosofia progettuale del centro culturale (inclusione sociale, rigenerazione urbana grazie alla creazione di partnership territoriali ed innovazione) e in parte ai sempre più diffusi trend relativi al km 0, cibo di prossimità, scoperta delle tradizioni, sharing economy etc.

CO-WORKING

Innovazione gestionale con membership customizzate; modello di sostenibilità basato anche sulla definizione di co-working diffuso (in cascina); circuito produttivo tra postazione di lavoro, formazione, aree espositive, officine studio (da verificare le planimetrie e il lavoro del gruppo affitti spazi), merchandising; Luogo di valore vita/lavoro; fascinazione del luogo; filiera culturale e start-up cooperative.

TRAINING SERVICE

L’obiettivo è quello di accogliere 3 fasce di utenti/mercati (nichhia; generalista; aziende). Le tematiche sono quelle legate ai pilastri di mare (rigenerazione/inclusione/innovazione). Gli ospiti saranno internazionali, ma anche locali (expertise locale: co-worker, staff mare; collaborazioni occasionali). I temi pop devono avere un taglio preciso e innovativo. È importante anche la trasversalità degli argomenti.

REHEARSAL ROOMS

I principi sono legati ai concetti di sperimentazione e formazione, al misurarsi con l’essere musicista ma anche all’accessibilità sia in termini pratici (facilità di prenotazione, flessibilità orario) sia in termini di contesto (per un pubblico non professionale e per accoglienza dell’ambiente). Infine si sottolinea il concetto di connessione con le altre funzioni di cascina e con la programmazione artistica.

RENTING ROOMS

L’obiettivo è quello di ottenere il massimo ricavo possibile per sostenere le attività utilizzando l’atmosfera di cascina per una funzionalizzazione anche economica senza intaccare l’attività core (non deve essere un’attività dominante). Inoltre si vuole favorire le occasioni e le opportunità di accessibilità di cascina rendendo flessibile l’uso degli spazi.

MERCHANDISING

Si immagina l’attività del merchandising come una funzione diffusa nello spazio. Dunque i principi sono legati al concetto della diffusione narrativa dei prodotti, alla ricercatezza nei contenuti legati all’attività di mare e alla possibilità di customizzazione ed utilizzo da parte dell’utente.

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2. Quali sono i modelli che vi hanno ispirato?

FOOD SERVICE

- Instructable Restaurant - Vooruit - Tawlet - Olinda - Santeria - Cascina Gaggioli - Cascina Martesana

CO-WORKING

- Impact Hub - Coffice - Fab Lab Open Dot - We Make - Ceramiche Vaccari - PcOfficina - KantoorKaravaan - YoellowWorking - Ffloor - Condiviso Coop

TRAINING SERVICE

- Meet The Media Guru - La Scuola Open Source - The restart project - Campus La Camilla - PcOfficina

REHEARSAL ROOMS

- Jam Session - Blau

RENTING ROOMS

- Cascina Martesana - Cascina Cuccagna - Spazi congressuali - Istituzioni milanesi - MUST shop - Triennale - Teatri

MERCHANDISING

- Magnum Store - Appartamento Lago - Nike We Run - Space 1026 - Printed Matter, Inc. - La Casa Encendida

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3. Quali sono le caratteristiche della vostra idea?

FOOD SERVICE

CO-WORKING

Desk/Lab/Spazio espositivo; Luogo di circuitazione artistica e professionale; Servizi diffusi in cascina; banca del tempo per co-worker; co-worker-formatori; community-nuovi pubblici come utenza attrattiva anche per i co-worker; membership personalizzate.

TRAINING SERVICE

Molte formazioni saranno legate ad eventi ad hoc; Formazione anche come luogo di elaborazione (think Tank culturale); Legame con il mondo accademico; Modularità dei format offerti; Borse del tempo per gli iscritti.

REHEARSAL ROOMS

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La caratteristiche legate al concetto di sharing, convivialità, genuinità degli ingredienti. Un altro punto di forza di Cascina è quello di vendere agli utenti i prodotti che possono poi essere cucinati e consumanti dagli utenti stessi grazie a forni e griglie a disposizione di tutti. Si immagina lo spazio bar/ristorante come un luogo in cui sostare, lavorare e incontrarsi anche a prescindere dalla consumazione.

Possibili fruizioni aggiuntive oltre alla semplice prova musicale: spazi di esibizione, aggregazione e incontro. Opportunità di contaminazione e formazione, presenza di una comunità artistica, possibilità di assistere a concerti di qualità, la professionalità tecnica nonostante il target amatoriale (presenza di tecnici del suono a disposizione dei musicisti, presenza di un’attrezzatura leggera funzionale alla registrazione)

RENTING ROOMS

Offrire oltre agli spazi una serie di servizi collegati; Avere spazi chiusi e aperti; Avere spazi vuoti e spazi funzionalizzati (bar, ristorante, etc.); Avere allestimenti specifici (tecnici, documentazione video / fotografica per gli eventi, etc.); Facilità di parcheggio; Prezzi vantaggiosi; Facilità di accesso alle informazioni e ad un sistema di pre-prenotazione; Chiarezza, trasparenza rispetto alle policy di accesso (prezziario on-line)

MERCHANDISING

La possibilità di far vivere all’utente una esperienza che lo porti automaticamente all’acquisto di un oggetto che per lui assume una valenza quasi affettiva.

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4. Chi immaginate che utilizzi lo spazio? | 5. Qual è la possibilità di spesa di questi utenti?

FOOD SERVICE

STUDENTE

DATI PERSONALI Età: 22 Carattaristiche: creativa, alternativa, vivace Interessi: arte, musica, fotografia Abitudini: cerca di bilanciare il tempo dedicato allo studio con quello dedicato alle proprie passioni, come, per esempio la musica e la video art. Ama trascorrere le belle giornate facendo lunghe passeggiate e immortalando i momenti più belli con la sua reflex. DATI PROFESSIONALI Professione: Studente, Accademia delle Belle Arti Luogo di Lavoro: Accademia di Brera, Milano Attività di lavoro: Trascorre la maggior parte del tempo all’interno dell’accademia. Nei momenti liberi coltiva la passione per la chitarra (classica ed elettrica) suonando con la band di cui fa parte oppure si dedica alla fotografia e al video making.

PERCHÉ CASCINA Motivazioni: Cerca soprattutto un luogo attrazzato e attivo in cui coltivare le sue passioni: fotografia, arte e musica. É interessata alle mostre, agli eventi e alle attività di formazione. Vuole un luogo intimo ma dinamico in cui poter stare con i suoi amici, vuole sentirsi a casa. Orari: pomeriggio nei giorni feriali o weekend Necessità: Necessita di un sevizio di ristorazione rapido, flessibile negli orari e non troppo costoso. Desideri: Cerca ispirazione, distrazione, contaminazione. Vorrebbe poter mettere in pratica le sue passioni e metterle al servizio della comunità. Come si sposta: Mezzi pubblici, bicicletta Valore aggiunto: Possibilità di avere menù più economici che vengano incontro alle necessità di studenti, organizzazione di eventi che uniscano il cibo ad altre attività artistiche (possibilità di potersi esibire con la propria band).

CAPACITÀ DI SPESA Bassa È interessato a cibi nutrienti ma convenienti

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4. Chi immaginate che utilizzi lo spazio? | 5. Qual è la possibilità di spesa di questi utenti?

FOOD SERVICE

LAVORATORE

DATI PERSONALI Età: 50 Carattaristiche: socievole, amichevole, pratico Interessi: calcio, serie tv poliziesche Abitudini: ha una vita abbastanza stressante a causa del lavoro che lo tiene impegnato parecchie ore. Trattandosi di un lavoro fisico, cerca di dedicare la pausa pranzo quanto più possibile al relax e allo svago. DATI PROFESSIONALI Professione: Muratore Luogo di Lavoro: Impiegato da una azienda di costruzioni edili Attività di lavoro: rascorre la sua giornata tipo svolgendo una serie di azioni manuali, coordinandosi con i suoi compagni di lavoro. La sera ne approfitta per stare la famiglia rilassandosi davanti alla tv.

CAPACITÀ DI SPESA Bassa È interessato ad un pasto sano e variato per bilanciare la sua routine.

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PERCHÉ CASCINA Motivazioni: Cerca soprattutto un luogo tranquillo e non troppo caro in cui potersi rilassare in pausa pranzo con i suoi colleghi. Orari: 12.30 / 14.30 Necessità: Necessita di un sevizio rapido e abbondante. Cerca un menù vario e differenziato in modo da soddisfare la sua dieta alimentare e il suo appetito. Desideri: Desidera soprattutto relax e tranquillità lontano dal cantiere e ovviamente un pasto ricco che nello stesso tempo sia pure economico. Come si sposta: Mezzi pubblici o a piedi Valore aggiunto: Qualità del cibo, variazione del menù, economicità, fidelity card, wi-fi.

4. Chi immaginate che utilizzi lo spazio? | 5. Qual è la possibilità di spesa di questi utenti?

FOOD SERVICE

IMPIEGATO

DATI PERSONALI Età: 35 Carattaristiche: socievole, sicuro di sè, deciso, metodico Interessi: sport, fai da te, cinema Abitudini: bilancia la vita sedentaria dell’ufficio praticando attività sportive come ciclismo e nuoto durante il weekend. Ama trascorrere il proprio tempo libero all’aperto o facendo attività pratiche.

DATI PROFESSIONALI Professione: Impiegato in banca Luogo di Lavoro: Banca Intesa San Paolo, Via Novara n° 131 Attività di lavoro: Trascorre la sua giornata tipo ad interfacciarsi con i clienti della Banca e a svolgere lavoro di ufficio. Talvolta si sposta in altri uffici milanesi per seguire dei corsi di aggiornamento o per partecipare a conferenze.

PERCHÉ CASCINA Motivazioni: Cerca soprattutto un luogo tranquillo in cui potersi rilassare in pausa pranzo con i colleghi e staccare dalla noiosa e sedentaria attività dell’ufficio. Orari: 12.30 / 14.30 Necessità: Necessita di un sevizio rapido ma di qualità, all’interno di un’atmosfera tranquilla e rilassante. Cerca un menù equilibrato e vario durante la settimana. Desideri: Desidera soprattutto stimoli e distrazioni che gli permattano di tornare in ufficio carico e positivo. Inoltre vorrebbe poter vedere e controllare il menù in anticipo in modo da avere già le idee chiare al proprio arrivo in Cascina ed ottimizzare al massimo i tempi della propria pausa pranzo. Come si sposta: Mezzi pubblici, bicicletta Valore aggiunto: Qualità del cibo, controllo sulla provenienza degli ingredienti, stagionalità del menù, fidelity card, app, wi-fi.

CAPACITÀ DI SPESA Media È interessato ad un pasto veloce e nutriente che soddisfi la sua dieta varia ed equilibrata e che lo ricarichi prima del ritorno in ufficio.

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4. Chi immaginate che utilizzi lo spazio? | 5. Qual è la possibilità di spesa di questi utenti?

FOOD SERVICE

INSEGNANTE

DATI PERSONALI Età: 40 Carattaristiche: attiva, spigliata, loquace, interessata, propositiva Interessi: letteratura italiana e straniera, musica Abitudini: cerca di suddividere il proprio tempo tra il lavoro, la famiglia e le proprie passioni. Non trascura infatti il suo amore per i libri e la musica coinvolgendo anche i figli piccoli. Le piace essere sempre informata sulla politica e i fatti quotidiani. DATI PROFESSIONALI Professione: Insegnante di lettere Luogo di Lavoro: Liceo Scientifico E. Vittorini, Via M. Donati n° 5/7 Attività di lavoro: Trascorre la sua giornata tipo all’interno dell’istituto Vittorini fino alle 13.00 circa. Successivamente torna a casa e trascorre del tempo con i figli a cui trasmette le proprie passioni. CAPACITÀ DI SPESA Medio-alta È interessata ad un cibo sano di cui può controllare la provenienza. Vuole vivere relax e tradizione con l’intera famiglia e portare a casa parte dell’esperienza vissuta in Cascina grazie all’acquisto di prodotti locali.

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PERCHÉ CASCINA Motivazioni: Cerca soprattutto un luogo tranquillo in cui potersi rilassare durante il pomeriggio con la propria famiglia. Ama poter trascorrere anche i weekend fuori casa in modo da rilassarsi completamente ed offrire ai figli piccoli la possibilità di scoprire, crescere e sperimentare. Orari: pomeriggio nei giorni feriali o weekend Necessità: Necessita di un sevizio genuino e quanto più possibile personalizzabile. Vorrebbe inoltre poter consumare all’interno del ristorante ma anche apprendere, acquistare prodotti, conoscere nuove ricette. Desideri: Cerca ispirazioni per una dieta equilibrata, sia per sè che per la famiglia. Vorrebbe sentirsi parte della community, poter apprendere nuove ricette, riscopriere le tradizioni e partecipare ad eventi stimolanti e divertenti. Come si sposta: Auto, più raramente mezzi pubblici. Valore aggiunto: Possibilità di personalizzare il proprio pasto, conoscere nuove ricette oltre che i piatti tradizionali, possibilità di partecipare a contest e d eventi collettivi, possibilità di dare ai propri figli cibo sano (km 0, filiera corta), wi-fi.

4. Chi immaginate che utilizzi lo spazio? | 5. Qual è la possibilità di spesa di questi utenti?

FOOD SERVICE

PROGETTISTA

DATI PERSONALI Età: 30 Carattaristiche: socievole, perfezionista, interessato, attivo, creativo, curioso Interessi: teatro, cinema, fotografia Abitudini: riesce sempre a trarre dalle sue passioni degli ottimi spunti per la sua vita lavorativa progettuale. Coinvolge con la sua grinta il team di lavoro ottenendo sempre il risultato sperato. DATI PROFESSIONALI Professione: Progettista di eventi Luogo di Lavoro: Dot Dot Dot Attività di lavoro: Trascorre la sua giornata tipo all’interno dell’ufficio insieme al suo team di lavoro. Spesso si sposta nei siti dei vari progetti oppure per contattare collaboratori e fornitori. Cerca spesso di frequentare circoli o ambienti che possano ispirarlo o aiutarlo nel nuo lavoro.

PERCHÉ CASCINA Motivazioni: Cerca soprattutto un luogo tranquillo in cui potersi rilassare in pausa pranzo con i colleghi. Orari: 12.30 / 14.30 Necessità: Necessita di un sevizio di qualità, all’interno di un’atmosfera eccitante e sempre ricca di suggestioni. Desideri: Desidera trascorrere del tempo di relax e ristoro con i suoi colleghi. Vuole un pasto che gli permetta di sentirsi come a casa, in un contesto conviviale e sereno. Desidera anche che la pausa pranzo diventi un momento per contaminare la propria attività con altre funzioni in modo da arricchire i progetti su cui sta lavorando. Come si sposta: Mezzi pubblici Valore aggiunto: Qualità del cibo, controllo sulla provenienza degli ingredienti, stagionalità del menù, fidelity card, wi-fi, caffè gratis.

CAPACITÀ DI SPESA Media È interessato a pasti nutriente ma convenienti, trovandosi in cascina molti giorni della settimana con il proprio team.

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4. Chi immaginate che utilizzi lo spazio? | 5. Qual è la possibilità di spesa di questi utenti?

MERCHANDISING

Il target dello Store sarà principalmente lo stesso delle altre attività della cascina: creativi, progettisti, curiosi, artisti, amanti dell’arte, persone del quartiere etc. È, dunque, fondamentale che lo Store conquisti l’attenzione del cliente e che lo coinvolga emotivamente nell’esperienza dell’acquisto.

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PROGETTISTI Attratti dalle attività di cascina per motivi legati al loro lavoro o alle loro passioni. Provengono da tutta Milano. Generalmente frequentano caffè letterari, circoli o laboratori per mettere a punto le loro idee.

ARTISTI Cercano costantemente nuove ispirazioni, punti per informarsi, per conoscere e per farsi conoscere. Scelgono con cura le attività da frequentare e approfittano dei continui stimoli per farsi ispirare. La cascina rappresenta per loro una opportunità di scambio, di crescita e di formazione.

QUARTIERE Il pubblico generico che si approccia alla filosofia di Cascina, è solitamente spinto dalla curiosità di scoprire un universo nuovo e stimolante.

CAPACITÀ DI SPESA Bassa Desiderano utilizzare i laboratori, il co-working e partecipare ad eventi di formazione. Sono interessati soprattutto all’acquisto di strumenti utili per il loro lavoro dentro e fuori la cascina.

CAPACITÀ DI SPESA Media Desiderano utilizzare l’affitto sale e le sale prova, spesso approfittano degli spazi per incontrarsi con i propri allievi. Sono interessati soprattutto all’acquisto di oggetti d’arte o collezionismo rari, difficilmente reperibili in altri store.

CAPACITÀ DI SPESA Bassa Desiderano scoprire nuovi mondi per soddisfare le proprie curiosità. Sono attratti anche dal clima che si respira all’interno della Cascina, dal senso di comunità che la caratterizza e dalla vivacità dell’ambiente. Sono interessati dunque dagli oggetti che, anche se comuni, rappresentano per loro una storia, un evento, un ricordo.

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6. Cosa li interessa di questo spazio servizio? | 6a. Cosa potrebbe spingerli ad acquistare dei prodotti?

FOOD SERVICE

CO-WORKING

TRAINING SERVICE

REHEARSAL ROOMS

RENTING ROOMS

MERCHANDISING

6. Si identifica come un polo di attrazione per la comunità e di rigenerazione per il tessuto urbano. Gli utenti sono dunque interessati allo spazio non solo per la possibilità di ricevere ristoro, ma soprattutto per le caratteristiche dello stesso e per i servizi che può offrire (Cene conviviali, eventi, laboratori, contest etc.) La dispensa sempre rifornita con prodotti locali e stagionali, rappresenta un punto di attrazione per gli utenti.

6. Il luogo in sé: L’arredamento personalizzato e funzionale; l’incubazione; la rete internazionale e il legame con altri spazi di creazione, lavoro, studio convenzionati con mare; l’offerta performativa contestuale agli spazi di lavoro e ricerca; la membership personalizzata; il mutualismo, la banca del tempo, crowdfunding (wiceversa), la piattaforma ICT e aspetti di IOT; merchandising; community interna/ esterna; rete del mondo cooperativo.

6. Nicchia: qualità; docenze; network; professionalità e qualità organizzativa Mondo accademico: costi; vetrina e network (career day o job placement); spazi accessibili e vivibili; attestati di partecipazione Aziende: visibilità; creatività e customizzazione dell’offerta; modularità degli spazi e fascinazione del luogo Pubblico generalista: Il luogo; argomenti Pop con un taglio nuovo e innovativo; nuove e inaspettate opportunità lavorative; attestato di partecipazione; costi.

6. La vicinanza rispetto al loro luogo di lavoro/ abitazione La possibilità di essere in un bel posto con una buona relazione qualità prezzo e una buona qualità tecnica. La garanzia di una presenza professionale di affiancamento. Essere in un luogo dove poter esibirsi o dove assistere ad esibizioni interessanti e di qualità. Essere in un posto dove c’è sempre qualche cosa da fare. Avere facilità di prenotazione e grande flessibilità sugli orari. Avere la possibilità di fare delle affittanze lunghe.

6. Disponibilità tecnica (per sale e spazio polivalente): impianto di amplificazione e diffusione, schermo e proiettore, flessibilità rispetto all’uso frontale o per blocchi di lavoro Polivalente: Dimensione medio/ grande; Prossimità con il bar e con lo spazio esterno (aia); Porticato davanti alla sala; Estensione dello spazio interno di lavoro; Allestimento minimo permanente per la pavimentazione (pedana in legno su misura che copre l’area e che rende lo spazio adatto anche ad attività artistiche).

6a. Siamo abituati sin da piccoli a fare esperienza degli oggetti in vendita, con le mani, con gli occhi e, in base all’occasione, con uno degli altri sensi. Ciò che però creerebbe un valore aggiunto potrebbe essere da una parte la specificità dei prodotti in vendita legati all’attività di mare e dall’altra parte la possibilità di poter contribuire alla produzione di oggetti in vendita.

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7a. Cosa fanno nello spazio? | 7.b Come questo servizio si colloca nello spazio?

FOOD SERVICE

CO-WORKING

7a. Il bar e il ristorante della Cascina cercano di differenziarsi dai loro competitor cercando di dare all’utente un valore aggiunto. Lo spazio diviene, dunque, non solo luogo di ritrovo, aggregazione e ristoro ma anche ambiente conviviale in cui informarsi, fare nuove esperienze, godere di una mostra, uno spettacolo, conoscere persone e partecipare ad eventi e contest legati al tema del cibo locale.

7a. Lavorano; ricercano/ studiano; invitano/ accolgono; mangiano; giocano/cazzeggiano; telefonano/fanno meeting; si conoscono; espongono/provano/ producono; formano/ si formano; scoprono; vendono; scambiano; propongono; progettano

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TRAINING SERVICE

7b. È diffuso in cascina, ma anche con incursioni sul territorio; usa spazi diversi con attrezzature dedicate in base al tipo di formazione; unisce la teoria alla pratica rispetto agli spazi a disposizione (sala prove; aula polifunzionale; cucina, corte ecc.).

REHEARSAL ROOMS

RENTING ROOMS

MERCHANDISING

7a. Arrivano e suonano. Arrivano e fanno corsi di musica di base (canto o strumento). Fanno corsi di formazioni nell’ambito musicale (sound desing, etc.). Dopo aver suonato si fermano al bar con gli altri componenti della band.

7a. Aziende: eventi (promozionali, formazione, convegni shooting fotografico, location cinematografica) Privati: qualunque tipo di evento privato dalla festa al matrimonio all’incontro di un gruppo di lavoro.. Hanno uno sguardo complessivo su cascina e i suoi spazi. Non sono interessati solo alla funzionalità dello spazio ma in generale alla sua atmosfera. Qualunque altro spazio/funzione di cascina è potenzialmente interessante se funzionale all’organizzazione del proprio evento.

7b. Sarà una presenza diffusa, mutevole, lungo tutto lo spazio. Gli utenti saranno sempre a contatto con i prodotti firmati “mare”, potendoli, in alcuni casi, anche vivere e personalizzare. Ciò che caratterizzerà maggiormente i prodotti di Cascina sarà la loro alta capacità narrativa, lo storytelling sempre presente e la creazione di un legame affettivo tra loro e gli utenti. In termini di allestimento, si pensa a dei moduli riconfigurabili, come avviene negli spazi di Casa Encendida o in fiere del libro come Fruit.

8. Cosa c’è in termini di design degli interni? Cosa non ci dovrebbe essere?

FOOD SERVICE

CO-WORKING

TRAINING SERVICE

SI: Si immagina lo spazio come un ambiente caldo e accogliente. La molteplicità delle funzioni, lo rende necessariamente trasformabile e riconfigurabile. Gli arredi saranno dunque mobili, trasformabili ma anche comodi e rilassanti. Ci saranno sedute, sgabelli, grandi basi d’appoggio attrezzate con prese e wi-fi (per chi è interessato a lavorare o incontrarsi), una cucina a vista (nuovo trend), comode sedute, arredi per esterno, bacheche, vetrine e scaffalature in cui tenere le conserve e i prodotti in vendita. La possibilità di ospitare eventi, mostre e spettacoli, rende necessaria la presenza di strumentazione specifica come, ad esempio, proiettori, luci, strumenti musicali etc. Saranno messi a disposizione forni e griglie che permettano agli utenti di cucinare in determinati momenti, i prodotti acquistati all’interno della Cascina. NO: Non ci sarà nello spazio una configurazione rigida con tavoli numerati e sedie.

SI: Spazi personali per i co-worker (armadietto o simile); luci calde, lavagna; stampante risograph; libri; proiettore; sedute comode; tavoli multifunzione (magari anche con dotazioni IT); scrivania da esterno grande con prese incorporate; angolo coffy break/ food; scrivanie personalizzabili, nessuna scrivania, sedia, oggetto è uguale ad un’altro. calcetto (biliardino); porta documenti/libreria da tavolo; lampada mare ad altezza/luminosità regolabile; lavagna/dashboard per comunicazioni; poltrona o tavolo da lettura (quotidiani). Deve avere indicazioni e mappe per orientarsi”, vista la complessità dell’edificio cascina e delle sue aree/sezioni diverse. Deve avere superficie per far esprimere le persone”, come avevamo previsto con la lavagna-comunicazioni ma anche per personalizzare il proprio spazio di lavoro NO: Niente piante finte, stanze con poca luce,

SI: Proiettore; aula attrezzata con PC/tablet; materiale di produzione sempre disponibile (da definire in base ai format); molte prese (colonnine); WiFii; punto/luogo di contatto dove conoscersi; archivio digitale; raccoglitore biglietti da visita e possibilità di stamparli al momento (risograpgh). Deve avere indicazioni e mappe per orientarsi”, vista la complessità dell’edificio cascina e delle sue aree/sezioni diverse. Deve avere superficie per far esprimere le persone”, come avevamo previsto con la lavagnacomunicazioni ma anche per personalizzare il proprio spazio di lavoro NO: No podio docente.

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8. Cosa c’è in termini di design degli interni? Cosa non ci dovrebbe essere?

REHEARSAL ROOMS

SI: Una porta vetrata che rendere possibile guardarsi da una stanza all’altra. Pareti insonorizzate. Il sistema di condizionamento dell’aria. Una dotazione minima di base: 2 microfoni con aste, chitarra, basso, batteria, un mixer, un amplificatore. Alcune poltrone sulle quali sedersi. La strumentazione minima di base per registrare. NO: /

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RENTING ROOMS

MERCHANDISING

SI: Diponibilità di allestimento da lavoro (tavoli cablati, sedie, etc.). Il wi-fi deve funzionare in modo eccellente. Dotazione tecnica (impianto di diffusione, proiettore, microfoni, etc.) sempre a disposizione. Distributore di acqua in ogni stanza. Gli spazi sono vuoti ma possono essere allestiti con tavoli, sedie, materiale di laboratorio, da contenere in un magazzino (sorge il problema della disponibilità di spazio). Magazzino preferibilmente a piano terra NO: /

9. Quali sensazioni questo spazio/servizio deve suscitare in chi ci entra e lo vive?

FOOD SERVICE

Sentirsi a casa Convivialità Genuinità Tradizione Accoglienza Accessibilità Serenità Soddisfazione Ozio Discrezione

CO-WORKING

Intimità Informalità Ispirazione (luogo che stimoli il pensiero laterale) Creatività Cultura Fierezza Protezione Rilassatezza Networking

TRAINING SERVICE

REHEARSAL ROOMS

RENTING ROOMS

Educazione non formale Silenziosità Convivialità Luminosità Interazione Comodità Serietà

Sorpresa per la cura dei dettagli tecnici Produzione laboriosa (un posto dove si fa, si lavora, si prova, etc.) Confort

Luogo adatto a realizzare la tua idea Qualità tecnica Ambiente sereno e positivo per il lavoro che deve essere fatto (luogo tranquillo per lavorare, clima, luce, catering, etc.) Cura dell’esperienza complessiva Sentirsi parte di un ambiente interessante Avere tutto a portata di mano

MERCHANDISING

Interesse Curiosità Fascino Appartenenza Accessibilità

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10a. Cosa potrebbe spingere le persone che frequentano questo spazio a fare esperienza anche degli altri spazi e funzioni? 10b. Come il merchandising entra in relazione con le diverse funzioni di Cascina?

FOOD SERVICE

CO-WORKING

10a. Una delle caratteristiche di Cascina è quella di essere multifunzionale. Le varie attività, dunque, si mischiano e si contaminano tra di loro. Risulta in tal modo difficile fare esperienza di una singola attività senza poi rimanere affascinato o incuriosito da un’altra. Attraversare la Cascina significa entrare dentro un percorso di cultura e di arte e mangiare all’interno significa diventare parte integrante del meccanismo che la tiene in vita. Il ristorante è un servizio per chi lavora dentro la cascina, per chi ne utilizza i servizi periodicamente e per chi vuole vivere un’esperienza unica nel contesto cittadino milanese.

10a. Sono trattate da mare come parte di un progetto comune, non come ospiti. Eventi; membership conservizi diffusi e attività dislocate (planning attività settimanale di tutta la cascina esposto); Allestimenti e co-design delle attività - in particolare co-design sulla formazione e sulla ristorazione “ far fruire uno stesso spazio a differenti clientele con differenti interessi, ad orari diversificati; così che un “coworking” possa trasformarsi, nel dopo lavoro, in una innovativa attività di ristorazione serale; far star bene le persone mentre lavorano così che possano socializzare come è natura del coworking, e nel momento in cui si concedono qualche ora di tempo libero, poter offrire loro un modo di socializzare diverso dalla solita “attività di ristorazione”. Una “segnaletica” particolare dedicata all’integrazione tra i diversi spazi di cascina; un’infografica diagrammatica sulle attività e gli eventi nei diversi giorni della giornata; integrazione scontistica dedicata a co-workers e membership.

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TRAINING SERVICE

10a. Menù convenzionati, materiale di documentazione diffuso; sconti su day-pass nel co-working; sconti su eventi in programmazione; biglietti da visita stampabili nella zona merchandising.

REHEARSAL ROOMS

10a. Co/wo e formazione la possibilità di entrare in relazione con una comunità produttiva, con le figure professionali che lavorano nel settore; Il bar e il ristorante aperti fino a tardi per potersi fermare dopo le prove; Poter affittare la sala polivalente per organizzare piccoli eventi musicali privati (saggi, esibizioni acustiche, etc.); Nell’aia concerti gratuiti, concerti di artisti che non passano altrove, spazio per esibirsi; Attività integrate tra questo spazio e gli altri (tipo programmazione hot cold)

RENTING ROOMS

10a. Contesto ambientale specifico che produce un interesse per un certo tipo di comunità. Pensare ad una serie di benefit che portino le persone a tornare nello spazio, sollecitandoli da più punti di vista (ad es.: se affitti uno spazio ti invitiamo a tornare per vedere un concerto)

MERCHANDISING

10b. Come anticipato in precedenza, il merchandising sarà una presenza puntuale e diffusa lungo tutto lo spazio di cascina e si relazionerà con le diverse attività cambiando di volta in volta i prodotti esposti. Il merchandising diviene anche il mezzo che continua a tener viva la narrazione di mare e dunque della vita all’interno della Cascina.

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11. Riassumete l’idea progettuale in una frase? | 12. Raccontate l’idea attraverso cinque parole chiave.

FOOD SERVICE

11. Anche il cibo è parte della produzione culturale di Cascina. 12. Open (kitchen - source) Tradizione Fiducia Incontro / Contaminazione Trasparenza e consapevolezza dei processi

116

CO-WORKING

TRAINING SERVICE

11.

/ 12. Collaborazione Contaminazione (di idee) Permeabilità (attraversamento) degli spazi Operosità (ambiente di lavoro produttivo) Relax Diffuso Circolare

12. /

REHEARSAL ROOMS

RENTING ROOMS

MERCHANDISING

11. Fai della tua passione una cosa da professionisti. Da grande voglio fare la rock star.

11. Offrire la possibilità di accesso al mondo di mare attraverso una disponibilità di spazi e strutture che ti permettano di realizzare un tuo progetto.

11. Tutto ciò che puoi comprare racconta un pezzo di storia di mare. Se fai parte di mare ci sarà un pezzo che racconta di te.

12. Amatoriale Qualità tecnica Giovani Talenti Stare bene con gli amici Crescere artisticamente

12. Spazio vuoto Modularità Servizi aggiuntivi Multifunzionalità Accessibilità

12. Multifunzionale Partecipata Diffusa Narrativa Homemade Do it yourself

12. Quali sono gli elementi critici (ad esempio: elementi materiali e immateriali, persone etc.) da considerare per realizzare l’idea nella forma che avete immaginato?

FOOD SERVICE

Uno degli elementi critici del ristorante è nell’assetto formale e nella relativa configurazione spaziale. La multifunzionalità e la trasformabilità che lo caratterizzano devono comunque rendere il luogo confortevole e soprattutto in grado di rispondere alle esigenze primarie di chi vi entra dentro: trovare ristoro e relax. Le attività, per quanto possano trovare un punto di forza nella contaminazione, non devono costituire un intralcio. È necessario che comunichino e che dialoghino serenamente per mezzo di una progettazione interna accuratamente studiata. Una ulteriore criticità è dovuta al posizionamento nello spazio. Infatti il ristorante si trova al piano primo e dunque si potrebbero verificare dei problemi di accessibilità.

CO-WORKING

Una risorsa dedicata; posizione geografica di cascina; integrazione dei servizi con gli spazi; allestimento degli spazi comuni; utilizzo/acquisto dei servizi accessori per i co-worker; ampiezza del mercato di riferimento e disponibilità economica; rumore della piazza di cenni.

TRAINING SERVICE

Risorsa dedicata e sistema organizzativo/planning (curatela per la formazione?); comunicazione dedicata; figura commerciale/marketing; distanza; garanzia di qualità; spazio limitato e attrezzatura/ strumenti limitati e non ancora ben definiti.

117

12. Quali sono gli elementi critici (ad esempio: elementi materiali e immateriali, persone etc.) da considerare per realizzare l’idea nella forma che avete immaginato?

REHEARSAL ROOMS

Il tecnico del suono: deve avere un comportamento sempre professionale anche se ha a che fare con musicisti non professionisti. Deve avere un’indole all’educazione in modo che possa nel caso essere un punto di riferimento per intraprendere un percorso di formazione più strutturato. La qualità della tecnica a disposizione. La gestione degli spazi e la messa a regime dell’utilizzo delle sale, soprattutto se l’accesso alla seconda sala è vincolato alla prima sala. La relazione con le etichette che però potrebbe avvenire di conseguenza per un interesse di scouting ad esempio, sollecitato prima di tutto dalla programmazione musicale che faremo. La possibilità di ospitare una piccola radio(locale) in cascina.

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RENTING ROOMS

Policy di accesso. Magazzino (lo spazio attuale non è sufficiente per tenere tavoli e sedie).

MERCHANDISING

Come anticipato in precedenza il merchandising sarà distribuito lungo tutto il perimetro della Cascina. Se da un lato risulterà visibile e accattivante, dall’altro, però, dovrà rapportarsi ai limiti spaziali e alle altre funzioni presenti in Cascina. Sarà inoltre necessario progettare un efficace sistema espositivo che renda i prodotti visibili e usufruibili ma anche sicuri e preservati da eventuali incidenti. Un altro elemento di criticità potrebbe essere collegato al “punto cassa” che deve necessariamente essere presente in diverse zone per velocizzare il processo di acquisto. Infine è stata evidenziata la difficoltà gestionale di uno store così configurato, in quanto si rivela quasi indispensabile la figura di un coordinatore che renda il servizio sempre interessante e funzionale.

13. Quali sono i partner che vorreste coinvolgere nello sviluppo di questa idea e perché?

FOOD SERVICE

CO-WORKING

TRAINING SERVICE

- Food Partners - Cupiello - Acqua del sindaco - Produttore per il caffè - Produttori locali - Allestimento Patrik - Hubmann, Carlo Gandolfi

- Mondo coop - Lama (Impact hub Firenze) - Impact hub - Rete nazionale/int di spazi con affinità forti con mare con cui creare accordi di residenza, uso laboratori, spazi di lavoro per tempi brevi - Fondazione housing sociale/cenni (potrebbe interessare molto una situazone abitativa e lavorativa (coliving), potrebbe essere una estenzione degli spazi di cowo in cascina)

- MTMG - Fond. Adecco - Reagire - Università - Centri di formazione - Altre start-up (corsi corsari; invisible studio; immaginariesplorazioni; - Fertile dencity/ dynamoscopio; Stalker; ciclofficina ecc.) - Rena - Accademia di belle arti - Mondo corporate - Mondo cooperativo

REHEARSAL ROOMS

- Piattaforme (CTRL, DIYSCO, etc.) - Scuole civiche - Scuole di musica - Insegnanti singoli - Radio

RENTING ROOMS

- Carlo e Patrick per immaginare delle soluzioni di allestimento dello spazio che consentano di risolvere/ gestire il problema del magazzino.

MERCHANDISING

- Case editrici (es libri, riviste etc) - Artisti (oggetti, stampe, magliette etc) - Produttori locali di generi alimentari - Produttori locali (calzolai, legatorie, sartorie etc.) - Aziende (produttori di gadget es. piatti, tovaglie etc)

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Project development map, Grap. 9 by author

grap. 9

Thematic areas harmonization, Grap. 10 by author

8.4.1 CO-DESIGN SESSION SUMMARY After the co-design session and the schematization of the information retrieved, I summarized the data in order to obtain some useful guidelines for the project of Cascina Torette di Trenno. It was clear that some answers were partly similar and this helped me and mare in defining a creative framework made of keywords, sensations and expectations. The synthesis process was divided in two phases. The first one was about the harmonization between the different thematic areas. Inded the second one was about the selection of perceptions in order to help the mareâ&#x20AC;&#x2122;s graphic team draw up the Cascina brand moodboard. The method and approach chosen was to highlight keywords from the co-design answers, finding similar aspects and opinions. I would like to report part of this huge work to better explain each step of the project research and development.

co-design thematic areas

HARMONIZATION

/ Principles / Characteristics / Values

/ User-User filter / User-Service filter / Users-Space filter BRAND IDENTIFCATION

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project development

grap. 10

- HARMONIZATION THEMATIC AREAS PRINCIPLES AND FEATURES

FOOD SERVICE

CO-WORKING

TRAINING SERVICE

FOOD SERVICE

CO-WORKING

TRAINING SERVICE

mare’s mainstays Proximity food Tradition Sharing economy

Spread in the space Value of life/work Fascination Cultural network Cooperative startup

mare’s mainstays Local expertise International expertise Interdisciplinary topics

Conviviality Genuineness Interaction user/service Sharing Relax space Work space

Work Artistic networking Spread Community Training Membership

Ideas generation Ties from academia Modular format Events

REHEARSAL ROOMS

RENTING ROOMS

MERCHANDISING

RENTING ROOMS

MERCHANDISING

Sperimentation Training Accessibility of sevices and space Connection with other activities

Functionality Spaces flexibility Facilitate accessibility

Spread in the space Narration Storytelling Customization and use

More services Multi-functions Quality Professionalism Clearness Transparency

Sensorial experience Customization Rarity Storytelling Spread

REHEARSAL ROOMS

Exhibition Aggregation Encounter Training Art influence Quality

Principles

Features

Mare’s mainstays | Spread in the space | accessibility | Functionality | Customization

Sharing | Multi-functions | Spread | influence | Storytelling

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121

Grap. 11 Thematic areas values, by author

- HARMONIZATION THEMATIC AREAS VALUES

FOOD SERVICE

CO-WORKING

TRAINING SERVICE

REHEARSAL ROOMS

RENTING ROOMS

MERCHANDISING

Sharing

Community

Modularity

Encounter

Multi-function

Storytelling

MARE'S MAINSTAYS SPREAD IN THE SPACE ACCESSIBILITY FUNCTIONALITY CUSTOMIZATION storytelling influences

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Grap. 12 Thematic areas brand, by author

- BRAND IDENTIFICATION FEELINGS PRODUCED

FOOD SERVICE

CO-WORKING

TRAINING SERVICE

REHEARSAL ROOMS

RENTING ROOMS

MERCHANDISING

Feel at home Conviviality Tradition Accessibility Serenity Satisfaction Leisure Discretion

Intimacy Informal Inspiration Creativity Culture Protection Relax Networking

Informal training Silence Sharing Interaction Comfort Professionalism

Surprising details care Intense productions Comfort

Ideas creation space Technical quality Serenity and positivity Experiences care Interesting environment Equipment

Interest Curiosity Fascination Belonging Accessbility

User-service filter The service should be:

User-sPACE filter - Accessible - Satisfying - Interesting - Fascinating - Cultural - Interactive - Informal - Productive - Creative - Qualitative

The space should be:

User-USER filter - Intimate - Protective - Welcoming - Accessible - Comfortable - Inspiring - Interesting - Positive - Detailed - Equiped

Users should feel:

- Conviviality - Welcom - Relax - Informality - Networking - Interaction - Professionalism - Productivity - Participation - Belonging

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Brand identification Fig. 20 Moodboard, by author

The results of this internal co-design session were useful to define a project framework, that was fundamental especially in the first steps of the design process. What was clear was that Cascina Torrette di Trenno will host six kind of different services, interlinked in spite of their strong identity. The services are: restaurant, co-working, training services, rehearsal rooms, renting rooms, merchandising. Each of them was accurately defined through a key words list that identified their features and characteristics. Finally each services was associated with a value that summarize in a word the main aspects of the activity. The second part was about the identification of the usersâ&#x20AC;&#x2122;s feelings. This kind of analysis was useful to define the mood of each service, thus the tipology of environment that users expect to find. It was possible to identify some line guides among the services and this facilitated the design process in terms of brand identity and interior design solutions. At the same time, I have defined the offering map of Cascina Torrette di Trenno together with my tutors, Ilaria and Sergio. It was a long and complex task because of the high numbers of activities and the quantity of ideas come out of the co-design. In this chapter, I have also reported the last version of the offering map, divided into the six thematic areas. However, the reported offering map represents just a draft of the final one, that is still now in progress.

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Fig. 20

creative

belonging

relax

fascinating CASCINA TORRETTE DI TRENNO 8. |

125

Italian best practices, Grap. 13 by author

8.5 ITALIAN BENCKMARK ANALYSIS The definition of the offering map has required an accurate and inspiring benckmark analysis in order to create a specific vision of what Cascina Torrete di Trenno could be in the future. In fact, the activities and services planning is fundamental because in a way they define the mood and the profile of the farmhouse. First of all I have done an italian benckmark analysis to discover other intersting case studies in our country. This process helped us to differenciate the offering of Cascina in respect for other similar cases and also to take inspiration. I have chosen to report just five best practices around Italy, but fortunately our country has many other similar cases. Two of the case studies selected are farmhouse (Cascina Cuccagna and Ca-Shin). This has demostrated how these kind of buildings naturally are suitable to be something different from their primary function, something related to culture, art and community activities. The case studies selected are distributed across the entire country, from the North to the South of Italy, in order to catch all the differences and the positive and creative aspects.

italian best practices

grap.13

Cascina Cuccagna, Milan

CĂ Shin, Bologna

JES! Jesi (AN)

SudLab, Portici (NA)

Farm Cultural Park, Favara (AG)

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Cascina Cuccagna in Milan Fig. 21

Fig. 21

8.5.1 BEST PRACTICE: CASCINA CUCCAGNA, MILAN 1 Cascina Cuccagna is an urban farmhouse of the 18th century. Itâ&#x20AC;&#x2122;s located inside the urban contex of Milan, near a metro station. Today Cascina Cuccagna itâ&#x20AC;&#x2122;s an important reference point for the quarter and an attractive space for the rest of the city. It is a meeting place for people and families, an active cultural laboratory both for children and adults. Its main aim it the research of social welfare and the improvement of urban life quality. Socially active high Innovation

medium low

Creativity

CASCINA CUCCAGNA

Services efficiency

People involvement

Results quality

1 More information on http://www.cuccagna.org/portal/IT/handle/?page=homepage (Accessed 06 April 2016).

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127

Cà Shin in Bologna Fig. 22

8.5.2 BEST PRACTICE: CÀ SHIN, BOLOGNA 2 Cà Shin is a farmhouse build in the first years of the last century inside the Cavoni Park, in Bologna. Since 2008 it has host many art and social activities. Today Cà Shin believes in values such as sharing, solidarity and in the power of culture. In this way, it became a space for citizens, of all ages, social background or religion. Thanks to its location, Cà Shin wants to connect people with nature, dealing with matters related to sustainability, innovation and culture. Socially active high medium

Innovation

low

Creativity

CÀ SHIN

Services efficiency

People involvement

Results quality

2 More information on http://www.ca-shin.com/ (Accessed 06 April 2016).

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Fig. 22

Jes! in Jesi (AN) Fig. 23

Fig. 23

8.5.3 BEST PRACTICE: JES!, JESI (AN) 3 Jes! is a dynamic and creative association established in the Marche region with the main aim to connect youth creativity, community and doing business in order to activate and support sustainable processes for young people. Jes! believes that the crisis of our society could be an opportunity to innovate and regenerate pre-established models. This association promotes workshops, events, exhibition and contests for young people networking. Socially active high Innovation

medium low

Creativity

JES!

Services efficiency

People involvement

Results quality

3 More information on http://www.jesplease.it/it/default.html (Accessed 06 April 2016).

CASCINA TORRETTE DI TRENNO 8. |

129

SudLab in Portici (NA) Fig. 24

8.5.4 BEST PRACTICE: SUDLAB, PORTICI (NA) 4 SudLab is a contemporary art centre for artistic and cultural research. The association is like an open space for artists, intellectuals, academics and specialists. Tha aim is to support an integrated design process and multidisciplinary and creative interaction between users, stakeholders and so on.

Socially active high medium

Innovation

low

Creativity

SUDLAB

Services efficiency

People involvement

Results quality

4 More information on http://www.sudlab.com/ (Accessed 06 April 2016).

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Fig. 24

Farm Culturl Park in Favara (AG) Fig. 25

Fig. 25

8.5.5 BEST PRACTICE: FARM CULTURAL PARK, FAVARA (AG) 5 Farm Cultural Park is a museum and cultural centre. Itâ&#x20AC;&#x2122;s a space for artists from all over the world, to do permanent and temporary exhibition, but also for the community. It is established in some abandoned buildings and has regenerated the quarter, by making the city an important centre for culture. The main value is the social innovation and the aim is creating a new young society, a new community that work for the creation of new lifestyles, way of living and way of thinking. Socially active high Innovation

medium low

Creativity

FARM CULTURAL PARK

Services efficiency

People involvement

Results quality

5 More information on http://www.farm-culturalpark.com/ (Accessed 06 April 2016).

CASCINA TORRETTE DI TRENNO 8. |

131

Local competitors location, Grap. 14 by author

8.6 LOCAL COMPETITORS ANALYSIS Another important step was the local competitors analysis. I pinpointed nine different case studies around Milan: Olinda, Cascina Cuccagna, CasciNet, Spazio Ex-Ansaldo, Triennale, Santeria, Mudec, Cascina Martesana, 4cento. I analysed in depth each of them, discovering the services offering and their main features. The local competitors analysis was realized through two different phases: The first one was about the field research. In fact I visited most of the case studies listed above and this gave me the possibility to deeply understand the mood of the space, the kind of users and their behavioural attitudes. I have also tried some services to evaluate their quality and efficiency. The second phase was a desk analysis to report the field experience in practical sheets. These were very useful for mare culturale urbano to identify the competitors target and strategy in order to differentiate its offering. This competitors represent just part of the entire examined list. In fact particular attention was given to professional and specialized activities, such as co-working, rehearsal rooms and training services. Also in this case the analysis required a field research and a desk one. In the following pages I have reported just those case studies that could be compared with Cascina Torrette di Trenno, because of their multifunctions aspect, focusing more on their offering map in order to introduce the services list of Cascina Torrette di Trenno.

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local competitors location

graf. 14

MILAN

Olinda

Cascina Martesana mare culturale urbano Cascina Torrette Triennale di Trenno Base Ex-Ansaldo Mudec

CasciNet

Santeria social club Cascina Cuccagna 4cento

Olinda Fig. 26

Fig. 26

8.6.1 COMPETITOR: OLINDA 6 Olinda is an association non-profit established in an ex mental institution in Affori, Milan. Its main aim is the social inclusion of people with mental health problems in the society. In fact its slogan is “Da vicino nessuno è normale” “Nobody is normal closely”. Other services are the restaurant and bistrò, the Olindacatering, the hostel, but also activities related to the Olinda theater such as hospitality through theatrical residences, participatory laboratories and voluntary activities.

Food services

Urban gardening

Hospitality Inclusion

Hostel

Events

Theater & Laboratories

Training services

Culture Interaction

6 More information on http://www.olinda.org/cittaolinda/citt%C3%A0-olinda (Accessed 06 April 2016).

CASCINA TORRETTE DI TRENNO 8. |

133

Base, Ex-Ansaldo Fig. 27

8.6.2 COMPETITOR: BASE EX-ANSALDO 7 Base takes place within the old factory Ansaldo, with the main aim of empowering culture and creativity in Milan. Base wants to regenerate the relationship between culture and economy, innovation and social growing. It is located near the Mudec and creates an important centre in Milan for social, economic development, both collective and individual. Base focus its research on community because itâ&#x20AC;&#x2122;s a fundamental ingredient for social innovation.

Casabase

CafĂŠ

Hospitality Inclusion

Events

Co-Working

Growth Interaction

7 More information on http://base.milano.it/ (Accessed 06 April 2016).

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Fig. 27

Santeria Social Club Fig. 28

Fig. 28

8.6.3 COMPETITOR: SANTERIA SOCIAL CLUB 8 Santeria Social Club is a project of urban requalification of a public ample building. Itâ&#x20AC;&#x2122;s a creative factory that aims to a cultural development in Milan. Santeria Social Club hosts many different activities for business, work, training but also for culture and leisure. It would be an inclusive space to enhance creativity, a different productive way for citizens. Santeria has a shop, a graphic labaratory, training activities and a co-working.

Theater

Culture

Events

Training

Co-Working

Growth Interaction

Food service

Print Club

Inclusion

8 More information on http://www.santeriasocial.club/here/ (Accessed 06 April 2016).

CASCINA TORRETTE DI TRENNO 8. |

135

Mudec Fig. 29

8.6.4 COMPETITOR: MUDEC 9 The Museum of Cultures of Milan is a center dedicated to the interdisciplinary research on the world cultures. Taking inspirations from the civic ethnographic collections and in partnership with communities, it intends to create a place where debating on contemporary themes through visual, performing and sound art, design and costume. Fundamental aims of the museum are the research, the collection and the preservation of non European cultures and the promotion of a public participation and the community involvement.

Food services

Book/Design store

Inclusion

Laboratory

Academy

Events

Training Involvement

9 More information on http://www.mudec.it/ita/ (Accessed 06 April 2016).

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Exhibition

Culture

Fig. 29

Triennale di Milano Fig. 30

Fig. 30

8.6.5 COMPETITOR: TRIENNALE DI MILANO 10 Since 1923, La Triennale di Milano is a cultural association for the promotion of art, design, architecture, fashion, cinema and communication and society topics. It hosts cultural exhibition and art events. Its historic importance has made La Triennale an important centre for culture and art in Milan, recognized all over the world. La Triennale hosts exhibitions but also events linked with culture and theatre performances.

Exhibition Museum

Events

Culture Interaction

Theater

Education

Food services

Training

Library Bookshoop

Inclusion

10 More information on http://www.triennale.org/ (Accessed 06 April 2016).

CASCINA TORRETTE DI TRENNO 8. |

137

Cascina Cuccagna Fig. 31

8.6.6 COMPETITOR: CASCINA CUCCAGNA 11 Cascina Cuccagna is not just an inspiring case study but a competitor for Cascina Torrette di Trenno. As I mentioned above, it is a space for people, for social inclusion and urban regeneration. Its main aim is to promote the regeneration of society, creating an environment for culture and creativity open to all. The contribution and the interaction are fundamental values. The mission is the creation a new life styles in the city, more awareness and sustainable.

Florist

Gardenin activity

Agricultural market

Food services

Food & Economy

Guest house

Education Laboratories

Hospitality

Social inclusion

11 More information on http://www.cuccagna.org/portal/IT/handle/?page=homepage (Accessed 06 April 2016).

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Social Events

Fig. 31

CasciNet Fig. 32

Fig. 32

8.6.7 COMPETITOR: CASCINET 12 CasciNet is an association established in 2012 inside the old farmhouse Santâ&#x20AC;&#x2122;Ambrogio, in Milan. The main fuondersâ&#x20AC;&#x2122;aim was to defent and protect the historical identity of the building. The projects promoted are about food issues, agriculture, art, culture, social activities and education. Today CasciNet is a multiservices hub for agricultural , cultural and social innovation.

Community gardening

Social events

Social Inclusion

Laboratory

Co-Working

Restoration activity

Culture Interaction

12 More information on http://www.cascinet.it/ (Accessed 06 April 2016).

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Cascina Martesana Fig. 33

8.6.8 COMPETITOR: CASCINA MARTESANA 13 Cascina Martesa is a public, collective and inclusive space inside an old milanese farmhouse. It aims to be a relaxing and comfortable oasis in the city, a place for stopping and thinking, for taking a pause and meet other people. Cascina Martesana wants to regenerate the ties of the community through services, events, social activities related to art and culture. Other topics are the sharing among users and the defence of the landscape.

Food services

Events

Culture and art promotion

Culture Interaction Inclusion

13 More information on http://www.cascinamartesana.com/ (Accessed 06 April 2016).

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Fig. 33

4CENTO Fig. 34

Fig. 34

8.6.9 COMPETITOR: 4CENTO 14 4CENTO is the most traditional case studies reported. Itâ&#x20AC;&#x2122;s main activity is food services. It interesting because of its location, an ancient monastery. The space is particularly interesting if we think about the previous activity. Today this is a green gathering place in the city, 4CENTO promotes cultural, social and music events to facilitate people encounters. Moreover it organizes manual laboratories for children and families in order to strengthen the social fabric.

Food services

Music events

Cultural events

Culture Interaction

Laboratory

Social activities

14 More information on http://www.4cento.com/ (Accessed 06 April 2016).

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Cascina Torrette di Trenno, Fig. 35 photo by author

8.7 CASCINA TORRETTE DI TRENNO PLACING After the analysis of competitors in Milan, I have found the right position for Cascina Torrette di Trenno in order to differenciate its offering activities. The selected values for the cross diagrams are: - Temporary / Continuing - High interactive / Low interactive and - Customized / Standard - Traditional / Innovative This process has been very important to the offering definition. The offering map consists in a complex process that involves all the thematic areas. In fact each area has its own offering map, a list of activities and functionalities related with the specific service. The offering map is divide into two part: the virtual and the physical one. The physical part consists of four areas, differentiated according to their nature (relax activities, community services, added services and spread ones), and the core activity, which is the most important factor to enable the service to work. Finally, the starting point for a proper offering map definition was specifying Cascina Torrette di Trenno, positioning it in the designed cross. In particular, after an accurate research and analysis, we have located Cascina Torrette di Trenno in the quarter “High interactive-Continuing (in terms of experience)” and in the quarter “Customize-Innovative”. The aim is to make the experience a continuative process that follows the user also after enjoying the service. The interaction and customization are perceived as fundamental values to make Cascina a place for people but also a space belonging to the community.

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Fig. 35

Grap. 15 Cascina positioning cross, by author

- CASCINA TORRETTE DI TRENNO POSITIONING CROSS Temporary

Customized

Mudec

Cascina Torrette di Trenno Base

4CENTO

Base

Cascina Cuccagna

CasciNet Cascina Martesana

Low interactive

High interactive Triennale

Traditional

Innovative Triennale CasciNet

Olinda

Santeria Social CLub

Olinda Santeria Social CLub Cascina Cuccagna

Cascina Martesana Mudec

Cascina Torrette di Trenno

Continuing

4CENTO

Standard

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Offering Map Food service, Grap. 16 by author

8.8 OFFERING MAP Information

| Price list | | Menu |

Services

| Booking | | Shopping |

Relax

Community & Events

EAT

Added services

Widespread services

| Merchandising - Renting Rooms - Training - Guest house |

Virtual WebSite

FOOD SERVICE

Physical Cascina Torrette di Trenno

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Offering Map Co-Working, Grap. 17 by author

Information

Services

Relax

| Breack space | | Reading Space - Spread archive |

Community & Events

WORK

Added services

Widespread services

| Restaurant - Renting Rooms - Rehearsal Rooms - Training - Guest house |

Virtual WebSite

CO-WORKING

Physical Cascina Torrette di Trenno

CASCINA TORRETTE DI TRENNO 8. |

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Offering Map Training, Grap. 18 by author

Information

Services

Relax

| Break Space |

Community & Events

TRAIN

Added services

Widespread services

| Spread archive - Courtyard - Guest house |

Virtual WebSite

TRAINING

Physical Cascina Torrette di Trenno

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Offering Map Rehearsal rooms, Grap. 19 by author

Information

Services

| Reservation mamagement | | Account |

Relax

Community & Events

PLAY

Added services

Widespread services

| Restaurant - Renting your custom space - Renting your desk - Guest house |

Virtual WebSite

REHEARSAL ROOMS

Physical Cascina Torrette di Trenno

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Offering Map Renting rooms, Grap. 20 by author

Information

Services

| Booking | | Account |

Relax

| Outdoor equipped areas | | Smoking areas |

Community & Events

| Custom events | | Spread artistic planning |

RENT

Added services

Virtual WebSite

RENTING ROOMS

Physical Cascina Torrette di Trenno

Widespread services

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| 8. CASCINA TORRETTE DI TRENNO

| Custom merchandising - Graphic ID events - Crowdfunding - Meeting Rooms - Agreements - Guest house |

Offering Map Merchandising, Grap. 21 by author

Information

| Catalog |

Services

| Shopping |

Virtual WebSite

Relax

MERCHANDISING

Physical Cascina Torrette di Trenno

Community & Events

| Market | | Open day |

BUY

Added services

Widespread services

| Restaurant - Renting Rooms - Rehearsal Rooms - Co-Working - Training - Guest house |

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Thematic areas activities analysis, Fig. 36 photo by author

8.8.1 THEMATIC AREAS ACTIVITIES ANALYSIS The definition of the offering map was not a linear and simple process. Once me and mare culturale urbano have done a general list of services for each thematic areas, we going gradually in depth changing or modifying the activities positioning. A very useful tool was a map in which we have listed all the activities of each thematic areas in order to identify any deficiencies and apport changes in the offering map. Moreover we have worked on the perceived value for each activities, pinpointing four different quality factors. These factors were: - Economic (something related only with the economical aspect of the service) - Intangible (something not physical but fundamental to increase people safistaction) - Emotional (something that makes a person feel important) - Technical (something essential for the operation of the service) Part of the analysis is reported on the picture 47.

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Fig. 36

Cascina Torrette di Trenno renovation work, Fig. 37 photo by author

Fig. 37

8.9 SERVICES AND SPACES Another important step was placing all the activities and services designed into the space of Cascina Torrette di Trenno. The farmhouse consists of three parts, two of which are connected, and has two floors. In the centre of the building there is an ample open farmyard, partly closed by a canopy. The majority of the rooms are small, comfortable and well-lit. The ground floor will host part of the co-working, two rehearsal rooms, a room for the Repair Cafe, the restaurant, a little room for renting service the infopoint and the storage. The first floor will host other rooms for the co-working, rooms for renting, a polyvalent room and spaces for food service.

Cascina Torrette di Trenno, Ground floor CASCINA TORRETTE DI TRENNO 8. |

151

Co-Working

Cascina Torrette di Trenno, Grap. 22 Ground floor

Rehearsal Rooms

LEGENDA: Renting Rooms Restaurant Co-Working Rehearsal Rooms Renting Rooms

Repair Cafe

Info Point

Restaurant

Storage Toilet Repair Cafe

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Bar

Co-Working

Cascina Torrette di Trenno, Grap. 23 First floor

Co-Working Renting Rooms

LEGENDA: Restaurant Co-Working Rehearsal Rooms Renting Rooms Info Point

Polyvalent room

Staff Food service

Storage Toilet Repair Cafe

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153

154

9. mYA PROJECT

THE COLLECTIVE FARMYARD FOR NEIGHBOURHOOD SOCIAL INNOVATION

155

9. Mya project

Project focus: farmyard, Grap. 24 by author

THE COLLECTIVE FARMYARD FOR NEIGHBOURHOOD SOCIAL INNOVATION 9.1 PROJECT FOCUS: THE FARMYARD After four months of close cooperation with mare culturale urbano, from September 2015 to December 2015, I have been ready to start another phase of my thesis process: the design of the final project. In the first period of my research, I have studied mare’s principles, values, beeing in contact with its design ideas and planning. This awareness about mare’s future design perspectives, gave me the possibility to develop a simultaneous project for Cascina Torrette di Trenno. Specifically I focused on the Cascina’s farmyard because it was the less defined space, which needed to be properly designed. mace culturale urbano has participated to a municipal social crowdfunding contest in order to achieve a financial support to start also the farmyard project. At the same time, gaining inspiration from the mare’s ideas, I started my personal research that bring me towards each step of the design process. The design values, shared between me and mare culturale urbano, were mainly related to social inclusion and the regeneration of community relationships. From a physical and tangible point of view the common key word was the self construction as method to enable a social and active participation logic and to create a belonging feeling among the citizens. The selection of farmyard as project space could be also motivated by its crucial role into the farmhouse. In fact it is the centre and the core of Cascina Torrette di Trenno. The farmyard would be a gathering space, for the activation of relationship and sharing processes. The farmyard is the bigger space in Cascina and would be the glue between all the activities. All users have to pass through it in order to have access to the services inside Cascina and this facilitate people flow. But the farmyard doesn’t want to be merely a way station. The main aim is to transform the courtyard in a comfortable space in which people can take a pause, relax, work and create relationships, changing their life attitude with a more sustainable one.

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- CASCINA TORRETTE DI TRENNO FARMYARD PROJECT

It’s the core of Cascina, a gathering space, for the activation of relationship and sharing processes

Variable

Passing

The farmyard will host always different activities and events

The users have to pass though it in order to access to services

157

Farmyard bonds and opportunities, Grap. 25 by author

9.1.1 FARMYARD BONDS AND OPPORTUNITIES As mentioned above, the farmyard has a lot of positive aspects that make it a good place for a services system and offering. However, in order to design in a proper way, itâ&#x20AC;&#x2122;s important to consider also risks and negative point of views. Usually, the deepen analysis of threats, could enhance the arise of opportunities to make the project unique and efficient in each parts. For this reason I started my project research listing the negative bonds and the opportunities. Among the negative bonds I have identified the outer space, especially because of the weather condition that could influence the activities calendar and the services availability, the double offering, thus the co-existence of services for pay inside Cascina and more accessible ones in the farmyard, and, finally, the risk of having a chaotic environment. On the other hand, I have tried to solve these problems finding some positive aspects. For example, the quantity of activities, if well designed, could enable creative and innovative mechanisms of cultural and social contamination. Moreover the heterogenity of people, becoming from different contexts and social backgrounds, could represent an opportunity to share knowledge and enrich users experience in many different ways. According with this point of view, the diversity is the most important factor to turn up societal development process. Finally the visibility is another positive point for the farmyard. In fact it is the first and the last space with which each users come into contact. The space attraction and fascination could nudge people to stop and experiment the farmyard services, becoming part of another network, more open and accessible.

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- FARMYARD PROJECT BONDS & OPPORTUNITIES

Negative bonds

Opportunities

Outer space

Many activities

Double offering

Heterogeneous target

Confusion

Visibility

Key words and activities, Grap. 26 by author

9.2 PROJECT IDEA GENERATION The farmyard represents a way station for all users. This important feature makes it a crucial space for sharing ideas, knowledges, experieces and contamination. All these desirable results could take action through a weel design activities setting, parallel to the offering of Cascina and necessary to better define and complete mare culturale urbanoâ&#x20AC;&#x2122;s offering. Thanks to an initial brainstorming with mare culturale urbano, we have pointed out a list of possible activities and key words in order to develop separate projects for the same area, but strictly linked because of the sharing of ideas, opinions and principles. Then, the brainstorming result was a set of key words or values and parallel activities. The selected key words to lead the design process were selfconstruction, sharing, social inclusion, cultural contamination. Instead the activities considered fundamental for the space, were events, repair cafe, digital area with the addiction of collateral services such as the bike sharing and the water house. Starting from these sticking points, the next step was the creation of three different concept ideas and project scenarios from which the final one was selected. The most important challange was to harmonize the indoor offering with the outdoor one and to establish a balance between the different activities of the farmyard.

- FARMYARD PROJECT ACTIVITIES & KEY WORDS

Activities

Key words

Events

Self-construction

Repair Cafe

Sharing

Digital area

Social inclusion

Bike sharing / Water house

Contamination

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Doing by yourself Grap. 27 Moodboard, by author

9.2.1 CONCEPT 1: DOING BY YOURSELF The first concept idea, called â&#x20AC;&#x153;doing by yourselfâ&#x20AC;?, is based on the physical experience of materials and tools. The farmyard become a place in the making, always dynamic and changeable. User can freely act inside the space and interact with other people. The possibility to have some instructions, both physical and digital, scattered around the space, guides users in their personal and collective experience. In this logic, each object or furnitures of the farmyard could be reproduced inside Cascina or at home by users. The main aim is letting people interact with the environment and between themself, and make the experience something continuing even after. Another important issue of this first concet, is related with the idea of recycle and reuse for a more sustainable way of living.

Interaction Materials & Tools Continuing Experience Recycle & Reuse

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grap.27

Leave your traces Moodboard, by author

Grap. 28

grap. 28

9.2.2 CONCEPT 2: LEAVE YOUR TRACES The second concept, called â&#x20AC;&#x153;leave your tracesâ&#x20AC;?, is based on the idea of contribution and interaction with the environment. In particular the main characteristic of the space is given by the possibility to change, modify or add. Each users have an importantal role to make the space always different. People live the farmyard and leave traces of their experiences. These traces might be messages, ideas, opinions but also a specific configuration of the space. In this logic, the space is always in transformation day after day, it is customized by the user experiences. It become part of people daily life, something in which they can recognize themself and the community to which they belong.

Interaction Traces experience contribution belonging

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9.2.3 CONCEPT 3: TASTE EXPERIENCES The third concept, called “ taste experiences”, was the one through which the project idea was developed and aims to answer to the following question: “What kind of services there are inside Cascina Torrette di Trenno?” The term “taste” means something people can experience. In particular, something related to Cascina Torrette di Trenno’s offering. In fact the idea is to create a set of low cost activities similar to those inside Cascina in order to give all users a little taste of the creative and innovative world of the farmhouse. The main aim is increasing users participation. In fact this solution on one hand encourages people from every social backgrounds to be part of Cascina’s community and on the other hand it avoids the creation of an expensive service just for a few people. In this way the farmyard becomes an inclusive space, a collective plaza for everyone and also a solution to put people in tuch with the service. In few words the farmyard became a sort of big touchpoint that gives people more than a preview of the life inside Cascina. At the same time the farmyard has some specific features that make it an autonomous experience. Users can decide to experience the farmyard services, the farmhouse ones or both. The most important think is that they feel free to enter and discover all the activities available. Finally, the farmyard becomes a vehicle to involve people, letting them sharing and networking, in a creative environment in the middle of Cascina’s buildings.

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Grap. 29 Project concept: taste experiences by author

- PROJECT CONCEPT TASTE EXPERIENCES

It aims to let people experiment low cost activities similar to those inside Cascina Torrette di Trenno, in order to:

what

put in touch possible users with the services inside Cascina

create an inclusive space for people sharing and networking

The Farmyard become:

main aims

added values

FILTER

PLAZA

between outside and inside Cascina

take a pause in a collective space

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163

9.3 FIELD RESEARCH: INTERVIEWS Based on the assumption that the aim of the project is creating an inclusive area for urban and social regeneration, I decided to interview people of the community in order to understand also their needs and point of views. People have been chosen on a random basis, walking around Cascina Torrette di Trenno and Via Novara. I have selected a sample of 12 people of different ages, from 23 to 69 years old. Eleven people out of twelve, come from Quarto Cagnino quarter. The questions were general. They were almost based on free time and on opinions about neighbourhood situation and services. I have chosen general topic because I was only in the first steps of my project and it was not totally defined in order to be tested by people. The aim of this interviews phase was to achieve useful insights for the project and some assumptions to support and validate my design decisions. The question has been: - In what neighbourhood do you live? - Are you satisfied with pubblic spaces of your neighbourhood or do you believe theyâ&#x20AC;&#x2122;re lacking/missing? - Are you satisfied with public services of your neighbourhood? - How do you prefer spending your free time? - When do you usually have free time? - Where would you like to spend your free time? - Whom do you spend your free time with? - Where would you like to go to eat out? - What transportations do you use? - Do you usually use tablet or phone? - What would you do of a broken object? - Put these activities in order of preference.

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- Participants analysis; 5/12 MALE

7/12 FEMALE

50%

25%

20 - 40 years old

40 - 60 years old

60 - 80 years old

- Are you satisfied with pubblic spaces of your neighbourhood or do you believe theyâ&#x20AC;&#x2122;re lacking/missing?

Public Spaces

12 11 10 9 8 7 6 5 4 3 2 1

- Are you satisfied with public services of your neighbourhood?

Services

11/12

8/12

4/12

1/12

Satisfied

Not satisfied

Satisfied

Not satisfied

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- How do you prefer spending your free time?

- When do you usually have free time?

Free Time activities

12 11 10 9 8 7 6 5 4 3 2 1

Free Time daily moments

12/12 3/12 afternoon

3/12 morning

5/12

2/12 1/12 0/12

Weekdays 7/12 Weekend 9/12

Walking sport

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Cultural activities

Shopping

Others

Computer Voluntary Laboratories

1/12 evening

- How do you prefer spending your free time?

- When do you usually have free time?

Free Time places

12 11 10 9 8 7 6 5 4 3 2 1

Free Time mates

8/12

2/12

8/12

7/12

Alone

With friends

With family

3/12 2/12 0/12

Indoor gathering space

Outdoor gathering space

Home

Others

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167

- Where would you like to go to eat out?

- What transportations do you use?

Outdoor meal

12 11 10 9 8 7 6 5 4 3 2 1

7/12 5/12 4/12

| 9. MyA PROJECT

4/12

Personal car

Personal bicycle

3/12

Outside city

168

favourite transports

Green space in the city

Restaurant / cafe

Public transportation

- Do you usually use tablet or phone?

- What would you do of a broken object?

- Put these activities in order of preference.

Digital device

Reuse attitude

Favourite activities

12 11 10 9 8 7 6 5 4 3 2 1

11/12

1/12

Yes

12 11 10 9 8 7 6 5 4 3 2 1

10/12

2/12

Yes

Depend

12 11 10 9 8 7 6 5 4 3 2 1

7/12

3/12 2/12

Cultural

Manual

Leisure

concert, event, exhibition..

gardening, do it yourself, labs..

cinema, games, table football..

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Grap. 30 Interviews analysis, by author

- PROJECT DEVELOPMENT INTERVIEWS ANALYSIS

Thank to the interviews, we can assume that:

The most of interviewed are not satisfied about public gathering spaces in the neighbourhood

They would like to spend their free time in open public space with friends or family

A lot of them would like to have a plaza or a park easily accessed by bicycle

They use smartphone or tablet to solve daily needs

They are willing to reuse things if itâ&#x20AC;&#x2122;s possible to repair them

They prefer cultural activities more than manual and entertainment solutions

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Grap. 31 SWOT analysis, by author

- PROJECT DEVELOPMENT SWOTH ANALYSIS

Strengths

WEAKNESSES Many services in the neighbourhood Efficient transportation system Many parks in the area

Few public meeting places No space for young people Needy people No bicycles stations

Cascina Torrette di Trenno Cenni di Cambiamento Community network

Too much traffic noise Security problems

opportunities

THREATS

Creation of a public space for people, to empower the community network

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Project values, Grap. 32 by author

9.4 PROJECT BEGINNING The concept development was the most complex part of my thesis process. The definition of some key words helped me to find the right path in order to achieve a well designed project. Moreover the possibility to work in a real context, with real users and with the precious collaboration of mare culturale urbano, gave me the necessary motivation and the indispensable tools for this hard design phase. Starting from the concept idea of a farmyard as a plaza (for community) and as a filter (of activities), I decided to go in depth through the key words previously came out from the brainstorming with mare culturale urbano. These are social inclusion, sense of belonging, self-construction, participation, interaction, networking, sharing, contamination, culture promotion, urban regeneration, socially active and customization. Each of them belongs to a specific cluster according to its relationship among users, between user and space or users and service. After a long design process, the final activities selected to be part of the farmyardâ&#x20AC;&#x2122;s offering were five. I have addeded to the original ones (Repair Cafe, Digital Area and Events) other two, Area relax and Open Co-Wo, on the basis of the services inside Cascina (Restaurant, Co-Working) and in order to decline the idea of activities filter between inside and outside offering. Each activity is connected by other collateral services with the main aim to better specify the oggering and to improve the users experiences inside the farmyard of Cascina Torrette di Trenno. Moreover, the research of case studies helped me to analyse real situation in which the main aim and key words are in part the same of my project. This phase of desk research was very useful to verify and test my ideas during the decision making process.

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grap. 32

the main values

USER - SPACE VALUES:

/ Social inclusion / Belonging / Urban regeneration / Self-construction / Customization / Participation / Socially active / Culture promotion USER - SERVICE VALUES:

/ Interaction / Networking / Sharing / Contamination USER - USER VALUES:

farmyard project

Grap. 33 Farmyard activities, by author

ACTIVITIES FARMYARD

AREA RELAX

OPEN CO-WO

EVENTS

DIGITAL AREA

REPAIR CAFE

Wi-Fi

Water fountain

Bike park

Tea&coffe store

Equipment

Tea&coffe store

Collective oven

Tools

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9.4.1 CASE STUDY: INSTRUCTABLES RESTAURANT 1 The first Instructables Restaurant was created at the historic Theatrum Anatomicum of the Waag in Amsterdam on December 16th, 2009, on the occasion of the 15th anniversary of Waag Society. The initiative was repeated at a number of locations afterwards. The fundamenta l characteristic of an Instructables Restaurant is that everything is downloaded from the Instructables website, and what could not found there, was added to its contents. Users could download it or take the instructions with you from the restaurant during the visit. I decided the take this interesting service as case study because of the interaction value between users and service and user and space and also because the idea of sharing knowledge and information.

9.4.2 CASE STUDY: HUELLAS ARTES, SANTIAGO 2 Huellas Artes, a project by 100architects, is an initiative that interprets the human footprint as an artistic trail in Santiago city. It is a cultural engine fueled by the passing flow of citizens and visitors from around the Bellas Artes metro station, a highly cultural area of downtown. The urban footprint is a non-built configuration that creates and defines an environment without restrain or enclosing it. According to the studio, the project wants to proposes a new-use scene in a fully unclosed outdoor space. It is a sign or trace that recognizes spontaneous functions performed there daily and expressed it graphically. I have selected this case study because of the public interaction value and the idea of traces leave by people in their daily life.

sHARING KNOWLEDGE and INFORMATION interaction by doing continuing exerience

traces public interaction urban art performance

1 More information on http://www.instructables.com/id/How-to-make-an-Instructables-Restaurant/ (Accessed 13 April 2016). 2 More information on http://100architects.com/project/huellas-artes/ (Accessed 13 April 2016).

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Scendi, c’è il cinema, Milan Fig. 38

Fig. 38

9.4.3 CASE STUDY: SCENDI, C’È IL CINEMA 3 Scendi c’è il cinema is a social initiative promoted by the zone 6 council, dedicated especially to the Lorenteggio and Giambellino quarters. The project wants to promote the cinema activity in the suburbs of Milan city. In fact these kind of leisure services are disappearing from the periphery and, in some cases, there is never been. The aim is to bring cultural events related to the cinema in the suburbs in order to manifest the potentiality of these working class areas and activate social cohesion mechanisms, based on trust and participation. This case study is an good example of low cost social intervention to regenerate the urban context and the relation between people.

Social cohesion participation urban regeneration trust

3 More information on http://www.modalitademode.com/rubrica-milano/scendi-ce-il-cinemagiambellino-2015/ (Accessed 13 April 2016).

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9.5 HOW THE PROJECT WORKS As mentioned above, the main aim of the project is the creation of an inclusive environment to involve people in the service, especially neighbors who are emotionally attached to Cascina Torrette di Trenno. The project consists of two parts, a physical one and a digital one. This two aspect are strictly in collaboration and interconnected to make the service project works well. In this logic, users have the possibiliy to download a specific application that allows them to use and sometime to book some of the farmyard services. The aim is to manage the flux of people, avoiding problems related to chaos and confusion. Moreover, thanks to the application, users are always in contact with the services becoming aware of all the events scheduled. The environment inside the farmyard would be active, dynamic, creative but defined by some rules that make it always accessible and available. In fact the activities are managed through a calendar, alternating into the space during the days of the week. A particuar attention was given to the difference of activities during the weekdays and the weekend, considering the possibility to have different and more huge fluxes of people on sunday and saturday. The accessibility and openess of the courtyard is guaranteed by almost free services. What people have actually to do is placed themself at the disposal of other users, sharing their knowleges, their time and interests. In fatc all the activities are thinked to be managed independently by users collaboration. The aim is increasing users participation and empowering social ties basing the process on the concept of trust, sharing and interaction for a more sustainable way of living in a suburbs context. The five activities selected cooperate between them to improve the whole service experience. They are characterized by specific features that allow people interact with the service and between them. Iâ&#x20AC;&#x2122;d want to shortly describe how each activity works and what it allows users to do inside the courtyard in order to introduce a deeply project analysis.

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9.5.1 MAIN SERVICES - Area Relax The Area Relax is located under the farmyardâ&#x20AC;&#x2122;s canopy and near the restaurant of Cascina Torrette di Trenno. It is dedicated to activities such us play and food. The main aim is to take a pause alone or together with other user creating a convivial environment. The possibility to organize convivial meal or other collective events, makes this place a really peaceful and collective space. In this area users could also play with some self-construction games that are freely available for those who are part of the farmyard communiy. The Area Relax is featured by many collateral free services that aims to improve the services experience. They include the water fountain to allow people freely drink, the convivial self-construction oven, the book sharing, the tea&coffe sharing and free wi-fi. - Open Co-Wo The Open Co-Wo answer to the need to have an open space in which users could freely work, even if they donâ&#x20AC;&#x2122;t have a membership for the Co-Working of Cascina. The two kind of Co-Working, the open one and the close one, are nearest in order to create a continuity of activities around the space. Users can book an emplacement though the application and visualize the number of emplacements already occupied. The application gives users the possibility to unlook their seats though a QRcode available inside the Info point of Cascina. The Open Co-Wo does not benefit from all the services available inside the closed Co-Working but anyway it has many collateral services that aim to create a comfortable environment for working and studying people. These services are the water fountain, the tea&coffe sharing, the bike park and, of course, the free wi-fi. The Open Co-Wo is dedicated to whom usually work at home or around the city and needs a comfortable and inspiring space where taking a pause, relax or working.

- Events The Events cluster is the most complex one because it includes all the temporary exhibitions or performances that influence the space according to a specific events calendar. With the cluster “events”, I identify even all the occasioning occurrences related to other activities such as a community meal or an open and free lecture in the open co-wo. At the same time the Events activity has a lot of peculiar situations related to culture and art that belong closely to this cluster. The events have not a defined area in the farmyard, instead they coud spread all around the space according to the tipology of event. They represent the core activity of the farmyard bacause they modify and characterize the space in the logic of contamination and local culture promotion. Thanks to the application users can see the events calendar, know the number of participants and decide to take part. The farmyard has at its disposal tools and equipment in order to set up the space. - Digital Area The Digital Area is located on a wooden platform near the Open Co-Wo. It aims to attract people from outside, giving them free wi-fi and energy to charge their devices. Moreover, thanks to specific touch screen, people could put in touch with the events calendar and the offering of Cascina. In this way the Digital Area became a very important touchpoint for who are not yet part of Cascina’s network. Morover the digital area is the most variable place because, in some specific occasions, it became the stage for cineforum and exhibitions such as concerts.

supply is more than a simple meeting. It wants to be an important moment of sharing knowledges, experiences and stories. The activities related to the Repair Cafe are managed through the events calendar and are visible to all users thanks to the application. The app allows users know when they could find in Cascina someone able to repair their belongings. Users can decide to participate or not and, if they will take part, the app takes note of the reservation and remember users the specific repair event through an alarm or notification. Moreover, the Repair Cafe gives people the possibility to sharing tools or objects they don’t use anymore and that could be useful fro someone else. The app manages also this kind of swapping service. As mentioned above, the Repair Cafe wants also to connect people and repair relationships among the community. Thus people have the possibility to sharing coffe and tea, spending some time with other, and making friends. The Tea&Coffe service aims to favourite these kind of mechanisms. It consists of little self-construction carts moving through space and avaiable to each users. The application points out the level of coffe and tea and add bonus to be spended inside the Cascina restaurant to those who decided to freely offer a defined quantity of coffe or tea. Finally the application is a useful tools to discover the events calendar, help other, make friends, repair belongings and obtain discounts and benefits.

- Repair Cafe The Repair Cafe is a service born for the first time in the Netherlands, a few years ago. It is very interesting for the enhancement of social cohesion and relationship regeneration. It aims to link people able in manual activities with those who need support to repair common broken objects. The encounter between demand and

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9.6 PROJECT IDENTITY: LOGO The logo idea was developend thinking about the meaning and principles of the project: the return of a collective and identity place to Quarto Cagnino community, and the enhabling of social ties and ralations. The idea of collectivity and belonging is very important for the project that wants to be a service for but also of the community. I started the ideas generation from these key words and from the concept of “aia” (in english “farmyard”) that is by nature an open and collective place inside a farm building. Its original function was to dry agricultural products and to manage all the phase of an agricultural production. It was a work and manual space, a dynamic and collective area. The parallelisms with the project are clear. In fact, even after the renovation, the farmyard will be a place for production, not of agricultural products of couse, but of ideas, relations and culture. It will be a place of the community and for users, in order to allow them to perceive the farmyard as their own. Finally, the term “aia”, linked with the idea of “belonging”, has shaped the project logo: MyA. It has two different meaning. From one side it means “your farmyard” , “my aia” or “la mia aia”, on the other side the “M” means “Milan” and the “A” means “aia”, in order to specify that the farmyard is located in Milan and that Milan city has a strong agricultural heritage. The sub-title reports the name of “Cascina Torrette di Trenno” to identify the location of the project. Finally the claim want to summarize the project aim: “the collective farmyard for neighbourhood social innovation”.

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- PROJECT IDENTITY LOGO MYA

Design logo

Color palette

2X R 245 G 245 B 245

R 249 G 178 B 51

R 73 G 91 B 91

Font

Pier Sans: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

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Farmyard activities calendar, Grap. 34 by author

9.7 PHYSICAL PROJECT SIDE: THE SPACE After the activities definition, I have worked on their placement on the space. This process was guided by the thematic areas position. In fact I tried to create links between the services of Cascina and the farmyard ones. In this way, the Open Co-Wo was located near the Co-Working and the Area Relax with its self-construction oven was located near the restaurant and bar. Moreover the Repair Cafe laboratory was enlarged, giving the added value to work also outside the little room dedicated to it. Near the Repair Cafe there is the stage with the Digital Area, an island of self-contruction furnitures and digital displays to discover Cascina Torrette di Trenno offering. Finally the Events activity is located in the centre of the courtyard because it doesnâ&#x20AC;&#x2122;t have a specific place byt it occupies the space only occasionally, in defined moments of the week. According to the activities calendar, events can take palce just in the weekdays evening or during the weekend. The main reason is to make the other services available. In fact an event might be considered as a disturbing factor for who is working or reading in the farmyard. Hence the need for coordination of services through a calendar.

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- FARMYARD PROJECT ACTIVITIES CALENDAR

Weekdays

Morning:

Open Co-Wo Repair Cafe Digital Area Area Relax Water fountain

Weekend

Morning:

Digital Area Area Relax Repair Cafe Water fountain Community oven

Afternoon: Open Co-Wo Repair Cafe Digital Area Area Relax Water fountain

Afternoon: Area Relax Events Water fountain Community oven Tea & cofee store

Evening:

Digital Area Area Relax Events Water fountain Tea & coffee store

Digital Area Area Relax Events Water fountain Community oven

Cascina Farmyard, Grap. 35 Ground floor

LEGENDA: Events Repair Cafe Open Co-Wo

Digital Area Open Co-Wo

Digital Area Area Relax Events

Equipment Tools Water fountain Tea&Coffe store

Area Relax

Repair Cafe

Collective oven Info Point Toilet

Bike park MyA PROJECT 9. |

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Application structure, by author

Grap. 36

9.8 DIGITAL PROJECT SIDE: THE APP MyA is a project that uses an application to allow users interact with the service. So the App is a fundamental touchpoint in order to better explain the service in all respects. This was the principal reason that has motivated me to prototype it. The app aim is to facilitate the relation between the user and the service. Each user can create a personal profile and interact with the activities available, book some services and discover all the news related to the events in Cascina. The app is constituted by four main interactive sections: events, area relax, open co-wo and repair cafe. There is also a menu that allows people to modify their profile, to get information about mare culturale urbano and their activities, to take a look to the calendar, to menage their reservations and so on. The first area is related to “Events”. Here there are three sections dedicated to concerts, exhibitions and cineforum. For each sections user can see all the list of events planned and decide to participate. The app gives also the possibility to organize an events, both private and public, as a concert. The second one is about the “Repair Cafe”. Here user can decide to offer to the community his knowledge and skills in exchange for some bonus, or he can decide to repair or share his belongings. The app alerts user about events that may be of interest to him. The third area is about “Open Co-Wo”. Here user can make a reservation for an emplacement, if it is available, and manages his previous reservations. Finally the “Area Relax” give user information about events related to play activities or food, as convivial meal. Here user can also book a self-construction game.

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grap. 36

the app structure

LOG-IN

HOME

/ Events / Repair Cafe / Open Co-Wo / Area Relax

/ Profile / The project / MyA Tour / Calendar / My Favourite / Contact / Information / Transports / Settings / Home

| General events | EVENTS

| REPAIR CAFE

| OPEN CO-WO

| AREA RELAX

| Concert |

| Exhibition |

| What do you prefer?

| How do you work?

| Cineforum |

| What do you prefer?

| Organize |

| Specific events

| Participate |

(redirect to partners)

| Want to help | (help to repair)

| Your skills

| Your bonus

| Find needers

| Need help | (search to repair)

| Belonging to repair

| Belonging to share

| Find helpers

| Alone |

| Book your workspace

| Date-Time

| Manage reservation

| In Team |

| Book your workspace

| People-Date-Time

| Redirect to calendar

| Play |

| Game list

| Donate a game

| Organize a game session (download the form)

| Modify profile photo |

| Services

| Eat | (events calendar)

| How do you have a pause?

(download the form)

| PROFILE

| Modify profile name |

| Modify personal e-mail |

| THE PROJECT

| mare culturale urbano |

| mareâ&#x20AC;&#x2122;s project | (cascina torrette di trenno)

| MyA TOUR

| Farmyard services map | | Info point |

| Equipment |

| CALENDAR

| Today |

| This week |

| Soon |

| Events info | | Event description |

| MY FAVOURITE

| Today |

| This week |

| Soon |

| Events info | | Heart

| CONTACT

| Address |

| INFORMATION

| Opening hours |

| TRANSPORTS

| Google map link |

| SETTINGS

| Languages |

(save event)

| Heart

(save event)

| Participants (through fb)

| Services

| Participate (through fb)

| How to get there |

| Notification |

| HOME MyA PROJECT 9. |

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Benefits system, by author

Grap. 37

- FARMYARD PROJECT BENEFITS SYSTEM

9.9 MyA SYSTEM MAP MyA is based on a collaborative system. In order to function efficiently the farmyard needs the cooperation of local partners and users. Since MyA is constituted by open and almost free services, it needs the creation of an active system of benefits and services between the stakeholders. All this process is based on trust network and disinterested collaboration. An important partnership could be the one with local small and medium enterprises or with small business activities. On one side, the service could achieve knowledge and support for specific and professional equipment. On the other side, partners could achieve some benefits, such as agreements on Cascina events or restaurant service and, of course, visibility to the community. At the same time, neighbors could be another important kind of active stakeholders. In fact MyA is a service for people and needs their active participation to function. According with my project idea, people involved in the service have the possibility to achieve benefits in relation with their role in the farmyard: the more they give the the community, the more they gain by the service. All the process is guided by the application that takes note of userâ&#x20AC;&#x2122;s bonus and unlock benefits according to the situation.

Partners

Local Partners

Users

Services for Cascina

Services for the farmyard

Financial support

Knowledge and equiment support

Activities support

Benefits from Cascina

Benefits from the farmyard

Visibility

Networking

Agreement on activities

(renting rooms, co-working space, training)

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(cascina and farmyard events, restaurants)

Grap. 38 Farmyard System Map, by author

Benefits

Mya System map

Partners

Services

Cascina Torrette di Trenno

Users

Log-in Services & Benefits Partners: Milan municipality Fondazione Cariplo Fondazione Housing Sociale ...

MyA App

Log-in Local Partners: Local small and medium enterprises (Craftsmen, markets, little stores...)

Material Flow Information Flow Financial Flow

Benefits

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Human behaviours, by author

Grap. 39

9.10 HUMAN BEHAVIOURS ANALYSIS The selection of a setting of activities and the definition of the service system, could be considered as the initial step for the interior design of the space. Going in depth on what people mostly needs and how people usually behave in collective and non standard situations, I have reached many interesting insights and suggestion to better design the users experience of the service. Thus, starting from people behaviours I have created a cluster of needs and a list of possible tools and services able to solve their requirements. The achieved results helped me imagine the farmyard environment, its main features in terms of furnitures and comfort parameters. The analysis was different for each thematic area and was developed both through a desk research and a research in the field. Thanks to the results of this huge analysis, I have defined the offering map. In order to semplify the system, I have clusterized the offering into three main groups: furniture, equipment and services. The furnitures cluster have guided me through the definition of the space.

grap. 39

human behaviours BEHAVIOURAL ANALYSIS FOR EACH SERVICE ACTIVITIES

/ Events / Repair Cafe / Open Co-Wo / Area Relax / Digital Area

/ WHAT PEOPLE USUALLY DO / WHAT PEOPLE MOSTLY NEED / OFFERING PLANNING

OFFERING MAP

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what people needs

Grap. 40 Human behaviours Area Relax, by author

- HUMAN BEHAVIOURS AREA RELAX

What people usually do

What people mostly need

Offering Planning

Behaviours

Requirements

Design

COMFORT

Seat Comfortable seat Modular tables Ambient light Clima monitoring

TAKE THE SEAT

EAT

HAVE FUN

RELIEF

RELATIONSHIP

Tea and Coffee area Water machine Gardening Free Wi-fi Multiple plug Tea and Coffee area Water machine Gardening Free Wi-fi Multiple plug

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Grap. 41 Human behaviours Open Co-Wo, by author

- HUMAN BEHAVIOURS OPEN CO-WO

What people usually do

What people mostly need

Offering Planning

Behaviours

Requirements

Design

SIT

CONCENTRATE

COMFORT

MEET

PRIVACY

PAUSE

EQUIPMENT

furniture | wi-fi | energy RESEARCH

RELAX (RELIEF)

eat | relate | smoke | rest CHARGE DEVICES

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Modular tables Comfortable seats Target light Clima monitoring Soundproofing solution Visual filter Projection wall Round table Free Wi-fi Miltiple plug Smooking area Tea and coffee area Water machine Events calendar Books and magazines sharing

Grap. 42 Human behaviours Events | Cineforum, by author

- HUMAN BEHAVIOURS EVENTS | CINEFORUM

What people usually do

What people mostly need

Offering Planning

Behaviours

Requirements

Design

SEAT

WATCH THE VIDEO

COMFORT

EAT

RELIEF

TALK ABOUT IT

INVOLVEMENT

Comfortable seats Blanket sharing Projection wall (audio video equipment) Calendar Clima monitoring Water machine Food and drink (for pay Cascina Restaurant) Round table Movies poll

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Grap. 43 Human behaviours Events | Exhibition, by author

- HUMAN BEHAVIOURS EVENTS | EXHIBITION

What people usually do

What people mostly need

Offering Planning

Behaviours

Requirements

Design

VISIT

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ENJOY

COMFORT

CONTRIBUTE

ADAPTABILITY

Information Way finding Water machine Food and drink (for pay - Cascina Restaurant) Clima monitoring Light system Plug system Equipment Furniture (depend on the situation)

Grap. 44 Human behaviours Events | Concert, by author

- HUMAN BEHAVIOURS EVENTS | CONCERT

What people usually do

What people mostly need

Offering Planning

Behaviours

Requirements

Design

TAKE THE SEAT

ENJOY

COMFORT

CONTRIBUTE

ADAPTABILITY INVOLVEMENT

EAT

RELIEF

Seats (depend on the situation) Little tables (depend on the situation) Clima monitoring Light system Plug system Music equipment Furniture (stage) Calendar Water machine Food and drink (for pay Cascina Restaurant)

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Grap. 45 Human behaviours Digital Area, by author

- HUMAN BEHAVIOURS DIGITAL AREA

What people usually do

What people mostly need

Offering Planning

Behaviours

Requirements

Design

SURF

COMFORT

Modular seats Target light Clima monitoring

CHARGE DEVICES

EQUIPMENT

Free Wi-fi Multiple plug Cascina Info point

TAKE THE SEAT

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Grap. 46 Human behaviours Repair Cafe, by author

- HUMAN BEHAVIOURS REPAIR CAFE

What people usually do

What people mostly need

Offering Planning

Behaviours

Requirements

Design

MEET UP

COMFORT

REPAIR

EQUIPMENT

Modular tables Seats Target light Clima monitoring Multiple plug Tea and coffee area Water machine Knowledge sharing Tools sharing Equipment Books and manuals sharing

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9.10.1 MyA OFFERING MAP Information

| Cascina offering | | Farmyard offering |

Services

Virtual WebSite | Book services || Benefits |

Furniture

Physical Cascina Torrette di Trenno

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Equipment

Open Co-Wo

Events

| Little table | | Comfort seat |

Repair Cafe

| Plugs | | Equipment |

Area Relax

Digital Area

| Plugs |

Grap. 47 Farmyard Offering Map, by author

Services

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Behaviours influence interior design, by author

Grap. 48

9.11 FROM BEHAVIOURS TO INTERIOR The definition of the offering map and the human behaviours analysis, were the starting point for the design of the space. In fact, MyA is not just a digital service, it is more than an intangible exchange process of benefits between user and service provider. It is about people, culture heritage and, of course, space. In few words, MyA can only exist if the physical context is taken into consideration, otherwise it loses its meaning. Starting from this assumption, I have deeply thinked about the spatial configuration of the farmyard, trying to imagine people behaviours, actions, fluxes. First of all, I focused on the density areas of people during the times of the day. This process was supported by the activities calendar and, in some cases, it was useful to manage and improve the calendar itself. Another important step for the design of the farmyard space, was the schematization of the people configuration in the space according to different situations. This analysis has generated two different hypothetical contexts: a static one and a more flexible and dynamic one. After having located the activities in the space and analysed human behaviours and fluxes, I have started to work on tangible aspects of the service. My thesis doesnâ&#x20AC;&#x2122;t want to be focused on produt design, but, because of the strong relation between services and products, I think it has been useful to outline in broad terms the design of the space, especially with regard to furnitures. Moreover the environement setting allows a better understanding of the project mood and give a narrative perception of the service process. As mentioned above, self-construction was the key word that has driven the interior design process.

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behaviours influence INTERIOR design

BUSIEST AREAS IN THE TIMES OF THE WEEK AND DAYS

/ Morning / Afternoon / Evening

SPACE SETTING ACCORDING TO DIFFERENT ACTIVITIES

/ Static situation / Dynamic situation

how people move

Weekdays

Morning

Afternoon

Evening

Morning

Afternoon

Evening

Weekend

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Static situation

- Open Co-Wo, Digital Area

- Repair Cafe

- Area Relax

- Cineforum

- Exhibition

- Concert

Dynamic situation

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Casa do Vapor, Exyzt & ConstructLab, Fig. 39 Trafaria (Portugal), 2013

Fig. 39

9.11.1 CASE STUDY: CONSTRUCTLAB 1 The interior design of the Cascina Torrette di Trenno was guided by the fundamental logic of self-construction. For this reason mare culturale urbano has collaborated with ConstructLab. It is an architecture group that based its design on the idea of collaborative construction practice, working on both ephemeral and permanent projects. In constructLab projects, conception and construction are brought together and the designer builds and continues to design on site. In this perspective, the construction site becomes the context in which the project can be enriched by unexpected opportunities. The designers-builders bring the site to life through their permanent presence, generating new dynamics between people and allowing them to integrate other participants. This synergy results in a collective work, and gives the building site a sense of place. ConstructLabâ&#x20AC;&#x2122;s projects are made with recycled materials or for temporary projects designed and built with future re-use of the raw materials in mind.

1 More information on http://constructlab.net/ (Accessed 11 April 2016).

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#costruirelimprovviso (detail), Fig. 40 photo by author #costruirelimprovviso, photo by author

Fig. 41

9.11.2 #COSTRUIRELIMPROVVISO 2 The main output of the precious collaboration between mare culturale urbano and ConstructLab, has been #costruirelimprovviso project. #costruirelimprovviso is an temporary open laboratory made of reused doors and windows frames. It aims to build the furnitures for Cascina Torrette di Trenno, using a self-construction logic. The laboratory was located near the Cascina in order to be visible by citizens. In fact, the self-construction wants to be an open, shared and participated process: nothing is hidden from neighbors. On the contrary the aim is to involve people, both children and adults, attracting them inside the laboratory to share knowledge and capabilities. #costruirelimprovviso laboratory is going to be open for almost three months, till the Cascina Torrette di Trenno opening. It is going to build all the furnitures necessary for co-working spaces, renting rooms, rehearsal rooms and the restaurant.

1 More information on http://maremilano.org/mare/costruirelimprovviso/ (Accessed 11 April 2016).

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Fig. 40

Fig. 41

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Self-construction Grap. 49 Moodboard, by author

9.11.3 INSPIRED BY SELF-CONSTRUCTION Self-construction is an important value for mare culturale urbano and it also a stylist choice. I have decided to follow the same direction, letting me inspiring by #costruirelimprovviso and other case studies by ConstructLab. The research of images have helped me to realize which kind of mood I wanted for my interior project. I have collected part of them in an inspirig moodboard. Good insights become from many interesting example of how people build furnitures at home, using just simple and common tools. The results are often unrefined but, this specific characteristic, make them fascinating and meaningful. The most common material used for self-construction, is wood, because it is easily avaiable and easily to be recycled. Other used materials are metal, even if it is more complex to be used, and many different kind of fabrics. Usually wood becames from furnitures no longer used, or from old doors and windows frames. In othes case the raw material came from different context, such as barrels or scaffoldings. Anyway the common factor is the tendency to reuse and recycle materials, appreciating them and giving them a new value.

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grap. 49

Self-construction Grap. 50 Materialboard, by author

grap. 50

9.11.4 MY APPROACH TO SELF-CONSTRUCTION According to the materialboard derived from the self-construction research, I decided to design furnitures made by wood with the support of some metallic elements. Following the example of #costruirelimprovviso, I have started thinking about old doors and windows frames to create new kind of furnitures. I have design simple and modular furnitures in order to answer to space requirements of modularity and flexibility. In fact all the objects are designed to be move around the space and to be disassembled in case of necessity. In this way the space is not static but in an ever-changing condition. It is possible to reconfigure the arrangement of furnitures, according to the activities calendar. Moreover, the possibility to disassemble furnitures, make them easily to be stored, avoiding the problem to have an excessive number of furnitures in the space. In addition to wooden furnitures, I have used textile to create a curtains system that cover and protect the space under the canopy, and metal grid to hang up objects, such as painting or other things according to the situation.

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9.11.5 FARMYARD INTERIOR DESIGN The process that brought me through the design of the farmyard space, was huge and complex but assisted by the definition of a key words list and service values proposition. In fact the space has to answer to specific needs and requirements, enhabling people to interact and to enjoy the services previously designed. This long list of signals, has helped me to find easily the right direction in order to prototype the space configuration. The areas with an high density of activities are concentrated on the Cascinaâ&#x20AC;&#x2122;s perimeter. Instead the center of the farmyard become similar to plaza in which people can experiment other activties of just know each other and spend time together. In addition, the centre is an important area to host events such as the market, the cineforum and so on. The space was designed so as to allow contamination and sharing between the activities, avoiding the creation of clear divisions. In this way the furnitures are modular and itinerant around the space. Also the big flowerboxes located under the canopy, could be removed in order to open the space. Others mobile and green elements, are some colored barrels. Their main function is to overshadow the space and make it more pleasant thanks to the inclusion of trees. In the next paragraph, Iâ&#x20AC;&#x2122;m going to deepening the space configuration, describing each kind of furniture in term of function and placement.

"penso all'aia come ad un luogo in cui mangiare insieme, un luogo di socialita' dove le persone portano delle cose e le condividono" anna

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Fig. 42 Farmyard rendering model, by author

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1 50

Modular Seat

Description: The modular seats are diffused in the Digital Area and in the Area Relax. They are modular and combinable in order to create shelves useful for the market.

100

Big Table

Description: The big table is located in the Area Relax and in the Repair Cafe. It is easy to disassembled thanks to easels fixed to the wooden board through two joints.

100

110

160

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Fig. 43 Farmyard by day, rendering model, by author

5 6

4 2

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Small Table Description: The small table is located in the Open Co-Wo and in the Area relax. It is easy to disassembled thanks to easels fixed to the wooden board through two joints.

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Stool

Description: Stoll is very useful for working places, such as the Repair Cafe. People need space and freedom of movement. Moreover the stoll is easy to disassemble just by twisting the colored pivot.

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Fig. 43

209

Table Football Description: The table football is just one example of self-construction game. It is located under the canopy near the Area Relax. Itâ&#x20AC;&#x2122;s easy to assemble and disassemble thanks to the colored pivots.

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Flower box

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380

Description: Flower boxes have a double function. From one side they constitute structures to hang up paintings or other object, and from the other one, they close the area under the canopy, protecting it from atmospheric phenomena.

142

Fig.44

211

Cart 1

134

190

Description: Karts are flexible furnitures that characterize the farmyard space. There are two tipology of kart. The first one has basket to show products during the market.

Cart 2

134

190

Description: The farmyard is characterized also by some kart in which is stored the collective Tea&Coffe. This kind of kart has three jars in which is stored the collective tea and coffee.

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Fig. 45 Farmyard by night, rendering model, by author

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Lawn Chair Description: The lawn chair is located in the Area Relax and itâ&#x20AC;&#x2122;s used especially for events (concert or cineforum). It constituted by two board stuck between themself.

Platform

526

580

Description: The platform is used both for the Digital Area and events, such as concerts. It is characterized by many trapdoors from which extract plugs. This is very useful for charging digital devices and for setting up a stage.

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Fig. 46

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9.12 MyA APP PROTOTYPE As mentioned above, the applications is a crucial touchpoint for userâ&#x20AC;&#x2122;s service experience. In fact it allows people to interact with activities and enjoy all the service functionalities. The app is constituted by two parts: the menu and the home page. The menu gives information about the userâ&#x20AC;&#x2122;s profile and allows to visualize his favourite events, saved in a specific calendar, and to manage the reservation. Moreover the menu gives general information about the service (where it is located, when it is avaiable, which kind of services, how to get there and so on). On the other hand, the home page gives an overview on four main section: events, open co-wo, area relax and repair cafe. The development of the mockup was useful to understand and clarify some parts of the project. It has shown me problems and weaknesses of the system and has allowed to solve them in a proper way, sometime changing even part of the offering map. This deep analsysis, aims to make the service functioning in each parts, even if it is just a service prototype.

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Front Page

Account registration

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Account registration

Home Page

Highlighted events

Automatic sliding Services description

Sliding

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Information

Transports

Manage profile Discover services

When?

How to get here?

Which services?

Sliding

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Settings

The project

Redirect to mare culturale urbano

Sliding

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Sliding

MyA tour

Calendar

Click on the services

Sliding

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Calendar

Bell: remember events to the user Events planning

Sliding

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Heart: insert the envent selected between favourite

Events description

Sliding

Managed by Fb

My Favourite

Contact

Participate: manage your reservation Option: Heart Bell Share

Sliding

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My Favourite

Home Page

Events

Sliding

Events: service description

Sliding

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Sliding

List of events based on tipology

Participate: Redirect to calendar

Organize: fill the form

Events

Program: concert in chronological order Participate or fill the form to organize an event

Redirect to events calendar

Sliding

Avaiable services

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Events

Home Page

Repair Cafe

General event: fill the form

Specific event: link to partner

Sliding

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Repair Cafe: service description

Want to help: find people to help and gain bonus

Sliding

Avaiable services

Repair Cafe

Want to help: Select your skills

Repair Cafe

Bonus: It gives users agreements for services

Repair Cafe

Need help: find people able to repair objects

Find needers: Save of skip the proposed events Sliding

Avaiable services

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Repair Cafe

Home Page Open Co-Wo

Specify the object: to be repared

Specify the object: to be shared Open Co-Wo: service description Find helpers: save or skip the proposed events Sliding

Sliding

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Open Co-Wo

Alone: book your reservation

Avaiable services

Open Co-Wo

Define the reservation and confirm

In team: book your reservation

Confirm: reservation saved on My Favourite

Avaiable services

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Open Co-Wo

Home Page

Area Relax

Define the reservation and confirm

Confirm: reservation saved on My Favourite

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Area Relax: service description

Take a pause: eat

Sliding

Avaiable services

Area Relax

Program: collective meal in chronological order

Take a pause: play

Games list: form to organize a game session or donate a game

Sliding

Avaiable services

Sliding

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9.13 INTERACTION STORYBOARD

MyA app On line service

Nicola - 57 User

Event notification

Log-in MyA app

Subscribes to the events

Unlocks the reservation and adds bonus

Arrives to Cascina Torrette di Trenno

Activates reservation Goes to Repair Cafe (QR code) and starts to help

Came back to the Repair Cafe

Sara meets Nicola who Then they drinks repairs her toaster a tea together using Repair Cafeâ&#x20AC;&#x2122;s tea&coffe store

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Sara - 26 User

Log-in MyA app

Subscribes to the events

Alessio - 30 User

Log-in MyA app

Download the form to organize an event

Office Feasible service

Staff approves the event and informs logistics

Logistics Feasible service

Receives the notification about the event

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Arrives to Cascina Torrette di Trenno

Set-up the space

Parks her bike

Goes to Repair Cafe to repair the toaster

Goes to Open Co-Wo

Grap. 51 Interaction Storyboard, by author

Registers the participation

Activates reservation (QR code)

Activates bonus and deducts points

Sends bonus because of the collaboration

Downloads restaurant agreement

Spends ticket with his friend Giulio

Plays chess with Giulio

Starts working

Eats with friends in the Area Relax

Comes back to work in the Open co-wo

Comes back home

Comes back home happy

Meets her friend Alessio and decides to enjoy the event Arrives in Cascina with his band

Enjoys the Digital Area

Helps staff to set up the stage

Enjoy the concert

Helps to take apart the event stage

Receives bonus and comes back home

Menages food and beverage service for the event Starts to set up the space for the event

Takes apart the furnitures used during the event

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9.14 STORYBOARD In a little house in the suburbs of Milan.. Sara: “I have been working on the same article for days, I’m exhausted! Isn’t it, Sussurri?” A meow interrupts the ticking of fingers on the computer’s keyboard. “I need a break! So, let’s see what’s new on Facebook... Angela has shared MyA: Cascina Torrette di Trenno. What is it? Mmm let’s see... A collective farmyard for the neighbourhood: open co-working, digital area, repair cafè, events... Wow! It sounds interesting and it’s very close to home! Well, I’m going to download the app so that I can enjoy the Repair Cafe!” In una piccola casa in periferia a Milano.. Sara: “È da giorni che lavoro su quest’articolo, che stanchezza! Non è vero Sussurri?” Un miagolio interrompe il suono delle dita che battono sulla tastiera del pc. “Pausa! Vediamo cosa c’è di nuovo su fb... Angela ha condiviso MyA: Cascina Torrette di Trenno. Cos’è? Mmm vediamo... Un’aia collettiva per il quartiere: open co-working, isola digitale, repair cafè, eventi... Wow! Sembra proprio interessante, ed è vicinissimo a casa mia! Deciso, scarico l’app e provo il Repair Cafe!”

Touchpoints (adv on line - app)

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Once upon a time..

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Arrives quickly the day of the Repair Cafe events. Sara: “Here I am! Me, my broken toaster and the laptop that never leaves me . Today I really need to finish that article but I’d need the right inspiration. I hope to find it!”. Giunge rapido il giorno dell’evento nel Repair Cafe. Sara: “Eccomi qui! Io, il mio tostapane rotto e il pc che non mi abbandona mai. Oggi devo assolutamente finire quell’articolo ma mi servirebbe l’ispirazione giusta, spero di trovarla!”.

Services

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Sara finds easily the Repair Cafè. Dozen of people are working together, sharing knowledge and experiences. Here she meets Nicola, a nice old man readily available to repair her toaster. Sara: “Wow! This place is amazing.. And they say there’s nothing to do in the suburbs..” Her thoughts are interrupt by the familiar ticking of her working toaster. Next to Sara, Nicola is watching the good work that he has done. “Nicola is very skillfull.. in just 5 minutes my toaster is good as new! I was so lucky to meet him!”. Sara individua subito l’area dedicata al Repair Cafè. Decine di persone lavorano insieme, condividendo conoscenze ed esperienze. Qui Sara incontra un simpatico signore, Nicola, che si mostra subito disponibile a riparare il suo tostapane. Sara: “Wow! Questo posto è incredibile..E poi dicono che in periferia non ci sia nulla..” I pensieri di Sara vengono interrotti dal ticchettio familiare di un tostapane in funzione. Accanto a lei Nicola osserva soddisfatto l’ottimo lavoro fatto. “Nicola è davvero in gamba..in 5 minuti il mio tostapane è come nuovo! Incontrarlo oggi è stata una fortuna!”.

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Sara and Nicola continue their conversation drinking the collective tea. “This tea is very good..the idea to share beverages is cool! One could stay here for hours. I feel quite at home, here. But..What Nicola said? Tea has distracted me!..a free water fountain?”. Sara e Nicola continuano a chiacchierare bevendo il tè della comunità. “Questo tè è proprio buono..l’idea di condividere bevande è geniale! Si potrebbe passare ore e ore in questo cortile. Si ha la sensazione di essere a casa. Cosa ha detto Nicola? Il té mi ha distratta!..casa dell’acqua?”.

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Finally comes the time to work.. Sara: “Let’s try the Open Co-Wo! Well..the QR code is activated and I have my work space, the wi-fi, plug to charge my laptop, Red Hot playing in my headphones, good people around me and, finally, inspiration to finish the article”. Infine giunge il momento di mettersi a lavoro.. Sara: “E adesso proviamo l’Open Co-Wo. Il QR code è stato attivato. Ho la mia postazione per lavorare, il wi-fi, le prese per caricare il pc, i Red Hot nelle mie cuffie, bella gente e ispirazione per completare l’articolo”.

Touchpoints (app)

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Services

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It’s lunchtime. Sara: “Cool! I can safely eat my salad. I think I will come here often. There are many people from my quarter and guys to talk to..and there is also.. Alessio?! What he is doing here? He is come out to greet me. That is what matters. This evening he will play with his band, here in Cascina (How many aspects has this farmyard?). He asked me if I would enjoy the event. Alessio, it depends on the kinf of music you play... but I already know that I‘ll want to stay here...”. È ora di pranzo. ”Fantastico! Posso mangiare in tranquillità la mia insalata. Penso che verrò qui molto spesso. Ci sono anche un sacco di ragazzi della zona con cui parlare..e poi c’è anche.. Alessio?! Che ci fa qua? Mi ha riconosciuta ed è venuto a salutarmi..questo è ciò che conta. Stasera suona qui in Cascina (ma questo cortile quante facce ha?). Mi chiede di restare per sentirlo. Alessio, ti dirò che dipende da che musica suoni... ma so già che vorrò restare...”.

Touchpoints (app)

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Services

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It’s late afternoon. Sara: “I’m watching the staff that is changing the aspect of the farmyard, in few hours: moves a cart, changes the seats, turns on the outside lights. The digital area is become an equipped stage! The mood of the space is changed, now the environment is bright! There is some kind of magic, emotional.. Do you think that’s overreaching? Maybe it’s bacause Alessio is going to play some Red Hot’s songs this evening..”. È tardo pomeriggio. Sara: ”Vedo il personale dello staff che in poche ore cambia volto al cortile: sposta un carrelino, sostituisce delle sedie, accende le luci...e quella che prima era un’isola digitale diventa un palco super attrezzato! L’atmosfera cambia, lo spazio si illumina. C’è qualcosa di magico ed emozionante qui..sto esagerando? Forse sarà perché stasera Alessio suona i Red Hot...”.

Touchpoints

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“Mmm MyA.. I think I’ve finally figured out the meaning of his name. It’s only been a few hours in this farmhouse, this farmyard, and I feel it already mine. Maybe it’s always been mine”. ”Mmm MyA... adesso credo di capire perché questo nome. Sono passate solo poche ore e questa cascina, questa “aia”, la sento già Mia. Forse lo è sempre stata”.

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The End

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10. FOCUS GROUP CO-DESIGN SESSIONS WITH NEIGHBORS

10.1 PARTICIPATORY DESIGN APPROACH In the following paragraphs I’d like to report my design experiece with citizens. But, before going into the content of this experience, I shall emphasise few concepts that I think are particularly interesting about this issue. First of all I would talk about Participatory Design, a design approach developed in the ‘70s, because of its importance in project for collectivity social innovation. “Participatory Design started from the simple standpoint that those affected by a design should have a say in the design process. This was a political conviction not expecting consensus, but also controversies and conflicts around an emerging design object” (Ehn, 2008, p.94). Participatory Design meaning has changed during the years, moving from a Participatory Design oriented to work within companies and organizations to a Participatory Design dedicated to enhance processes of empowerment and change within communities and public space. According to Ehn (2008) another important shift was the transition from designing “things” as objects to designing “Things” as socio-material assemblies. This means a fundamental passage from the traditional idea of design products or services, to a totally new approach in which the participatory factor creates an innovative socio-material assembly, in a word, the Thing. But this is not the only Ehn’s theory innovation. In fact Ehn added to the idea of Participatory Design the concept of design-games. In this perspective, Participatory Design is “a process of entanglement of many different design-games”, tools involved in these sociomaterial assemblies, archifacts such as prototypes, mock-ups, models and sketches that support the process in its different phases, creating a connection between the several language games. In the words of Ehn, these are “design devices”, thus socio-material public things, necessary to support participant across design-games in the design process. Design devices are fundamental to highlight the participatory nature of this approach. In fact Participatory Design aims to involve and aligning

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different pariticipants, merging their interests and changing the idea of individual interest in a public one. In this perspective, Participatory Design is an innovative, collective and dynamic process that uses specific “design games” or “design devices” or even, using the words of Manzini and Rizzo, “design initiatives” for the “construction of social-material assemblies where social innovation can take place” (Manzini & Rizzo, 2013, p.202). The role of the designers is to mediate among different interests, creating shared and public interests. The concept of “initiatives”, focuses on participants “as social actors endowed with creativity, organisational capabilities and entrepreneurship, and therefore capable of figuring out, enhancing and managing new solutions. In the presence of these conditions participatory design and design for social innovation converge and tend to overlap” (ibidem, p.201). Participatory Design is closed to the bottom-up approach enhance a bottomup social innovation. It represents bot the innovation and the driver for others innovative results. Manzini and Rizzo categorized “design devices” in three main typologies: - Subjects of conversation (They are scenarios showing final users how the world could be like if...) - Tools for conversation (They are communication artifacts to facilitate the interaction about a specific topic) - Enablers of experience (They are a range of prototypes aming at anticipating possible solutions and testing them) During my thesis process I had the possibility to test my project involving citizens and the future users of the service, So I had especially used the last kind of “design devices”, designing a small-scale experiment to test my services offering.

10.1.1 CO-DESIGN & CO-PRODUCTION Participatory Design introduces and contains the important concepts of Co-Design and Co-Production. Bacause my thesis is about a public-interest services, those concepts are fundamental. Of course, they refer to users’ involvement, in a process that make the final users involved from the first design step to the fruiction of the service/ product itself. The became a kind of co-designers and co-producers. Mentioning Jégou and Manzini (2008), those kind of collaborative services are “services where the end-users are actively involved and assume the role of service co-designers and co-producers” (ibidem, 2008,p.32). Going in depth, it’s possible to define the concept of Co-Design as a cooperation of people and designers involved in the same process, in which people may be considered as users. Sanders and Stappers (2008) identify the specific stages of design process in which co-design may take place as the phase called “front-end” or better “pre-design”. It is a phase of exploration, inspiration, fuzzy and chaotic, because it’s the phase in which define the concept and prototype it on the basis of users’ feedbacks. So, co-design represents a crucial participatory moment for the generation of ideas and the taking of decisions, in order to find the real needs of citizenz expressed as desires. According to Sanders and Stappers (2008), co-design is an evolution of the idea of user-centred design approach. In fact in the user-centred approach the user is seen as an “object” to be taken into account but not involved in the design process. The participaty co-design approach conseders user as a fundamental partner and a key-actor, instead. In fact, mentioning Manzini (2008), users are resources, “experts of their experience” and play a key-role for the ideas generation and the development of the service. Using this approach, users bring their experiences and their knowledge while designers contribute with their competences and co-design tools, mediating and leading people’s creativity (Sanders & Stappers, 2008).

As previously mentioned, co-design tools are essential techniques for a co-design approach and they could be organized into three main area according to their utility (Sanders, Brandt & Binder, 2010). The first one are the “making tools” (maps, collages, models etc..), physical artefacts that embody ideas to facilitate the communication. The second one are “telling tools” (storyboards, timelines, diaries etc..), useful to tell future scenarios through verbal or visual descriptions. The last tools are “enact tolls” (game board, space models etc..) to facilitate acting and playing. The usage of all those kind of tolls, allows people to express their creativity and participate in a generative and positive way, in order to facilitate the decisionmaking phase and to develope innovative services. The next steps for a participatory design is the concept of co-production, considered as the realization phase of the process. Co-production “means delivering publicservices in an equal and reciprocal partnership between professionals, people using services, their families and their neighbours. Where activities are co-produced in this way, both services and neighbourhoods become farmore effective agents of changes” (Boule & Harris, 2009, p.11). The co-production considers people who use services as hidden resouces and for this reason it involves them using their knowledges and skills, in a mutual suppot system. In this perspective, the way services are delivered changed and the boundaries between producers and consumer are blurred. Becoming co-producers, the final users, citizens, have a totally new role in the society and new awareness of their responsibility and potentialities. In conclusion, the way of designing for society is shifting from”delivering services to people to enabling co-production of services with people” (Bason, 2013).

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10.2 FOCUS GROUP MEANING AND METHOD Thank to the collaboration with mare culturale urbano I had the possibiliy to collaborate with Guido Belloni, area manager, who introduced me the focus group technique. I think that the focus group is related to the participatory design approach, because it is based on the involvement of service user in an evaluation and creativity process to test and veriry the design solutions. The common idea is talking, interact ingand co-designing with people involved in the service, using ideas generating tolls and inspiring. The focus group technique started during the ‘40s thanks to the encounter between Rober Merton and Paul Lazarsfield, become colleagues at Columbia University in 1914. The first focus group managed by Merton and Lazarsfield was realised without a real awareness of the authors. Only after, the importance of this innovative interview approach was understood and the American Journal of Sociology published an article called “The Focused Interview”. The focus group is like a collective interview that, involving many interested people, aims to define and analyze specific issues in order to catch opinions, motivations, needs of the participants. At the beginning the focus group found its field of application especially in marketing researches, for the development of new products or for the advertising campaingns test. Since the ‘90s, psychologists started to use focus group for issues related the health, finding useful results for their researches. Gradually also other disciplines began to use focus group as an efficient analysis method. First of all the

1 More information on http://www.authenticityconsulting.com/principals.htm (Accessed 01 April 2016).

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communication sector, but also others, such as the political field, the juridical one and the fashion one. According to Markova (2003), the focus group is based in communication. In fact, it’s an open group dialogue to examine a specific problem or issue. It’s active and dynamic and required a moderator for directiong the debate. As in the co-design approach, also in a focus group the interaction between participants is fundamental to sharing opinions, point of views, ideas, experiences, desires, needs, generating interesting solutions, concepts and project starting points. The focus group dynamism is defined as a “group synergy effect” (Stewart & Shamdasani, 1990; Berg, 1995). This synergy is at the origin of the ideas generation process, inside an interactive environment. According to McNamara (1997) 1 focus groups are a powerful tools to evaluate services or test new ideas. Usually, focus groups involved 6-10 people, interviewed at the same time and at the same focus group, in order to gat a great number of information. Generally, a focus group consists of five parts: - Preparing for the Session: In this first part it’s necessary to identify the major objective of the meeting, to develop the questions for the interviewed, to plan the session in each parts, call potential members to invite them to the meeting. It’s also important to call the about three days before the meeting, to remind them to attend. - Developing Questions: Usually the questions are five or six no more. In fact a focus group should last one to 1.5 hours. In my personal experience the questions were just three in the form of

three different design tools that I will explain in the next paragraph. - Planning the Session: A focus group has to be scheduled. It’s necessary also to think about setting and refreshments for each session. Moreover it’s crucial that all members participate as much as possible because the session is often a one-time occurrence, so it’s useful to have a few, short ground rules that sustain participation. The selection moment is also important. Selected members should be likely to be participative and reflective. It’s better if members don’t know each other. Another important factor is to plan to record the session in order to extrapolate easily the data after the session. - Facilitating the Session: Major goal of facilitation is collecting useful information to meet goal of meeting. At the beginning of the session the facilitator should introduce itself, explaining the focus’s aim and the necessity to record the focus group. Moreover it’s important carefully word each question and take note of the answers. If one or two people are dominating the meeting, the facilitator could involve others using a round-table approach. Finally, the facilitator tell members how and when they will receive the report of the session, thank them for coming and adjourn the meeting. - After Session: Firstly verify if the tape recorded, than make any notes on your written notes and write down any observations made during the session. The second step is the

elaboration of the answers in an understable structured diagrams. Thus, the figures involved in a focus group are, basically, two. The first one is the moderator or facilitator. He has to maintain open, spontaneous and productive the conversation. His role is generating a huge number of different ideas and opinions from different people involved in the focus group. On the other side, there are the participants that have the role to express their opinion about the topic presented by the moderator. The sharing of ideas is fundamental for the focus group and can enhance opinion changing. Usually participants belong to similar context and constitute an omogeneous group without inhibitions. Usually we need more than one focus group to obtain the expected results. The perfect number is between three and four. They last for about one hour in order not to stress the participants. My experieces of focus group with mare culturale urbano was constituted by four focus group lasting an hour. Unfortunately, participants were not always the desired quantity. Especially the first one involved few people. Howere this has given me the possibility to analyse different situation, with a different number of actors and obtain a general overview, strenght and weakness, of the focus group method.

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Focus group with citizens, Fig. 47 photo by author

10.3 FOCUS GROUPN AND CO-DESIGN FOR THE FARMYARD The focus groups were organized after the definition of the concept and the development of the Cascina Torrette di Trenno courtyard project with the collaboration of mare culturale urbano. The main aims were testing and evaluating the project, gaining valuable advices and insight to improve the service and to analyse its efficiency in field, with the important contribution of citizens of zone 7. On the other hand, mare culturale urbano achieved many interesting feedbacks to continue and better define its courtyard project, basing its design process on the real needs and opinions of citizens, who will be the final users of Cascina Torrette di Trenno. Me and mare culturale urbano have realised four focus group sessions between the end of March and the beginning of April, involving about 20 people from the neighborhood. People involved were especially inhabitants of the co-housing Cenni di Cambiamento but we tried to engaged also local associations, local business owners, delegates of Zone 7 council and so on. The focus groups took place on the eighth floor of Cenni di Cambiamento, a collective space reserved to the residents, so as to organize party, to study and other collective activities. The first step was related to the definition of design tools for management of the focus group. Each sessions was divided in three phases (narrative phase, evaluation phase and motivational phase) characterized by active and creative dialogues and interactive moments in which participants expressed their opinions using post-it. The second step was the involving phase. It was fundamental in order to achieve a proper number of participants. I have sent about 50 mail using the mailing list of mare culturale urbano and attended about 20 people (40%). After that there was the development of the focus groups and, finally, the schematization of the information gained. In the next paragraphs I will analyse in depth each phases, showing the prototypes designed and the data visualizations.

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Fig. 47

10.3.1 FOCUS GROUP STRUCTURE: INVOLVE PEOPLE As mentioned in the previous paragraph, the possibility to organized the focus groups, was influenced by the number of subscriptions to the project. Each attendee was invited to participate through an invitation e-mail. People who wanted to participate had to send an e-mail specifying their favourite date and their basic information (name, age, telephon number and e-mail address). Thanks to these information I had the possibility to easily contact people in case of problems. After having received the subscriptions, I distributed participants between avaiable dates. Then, each participants received a response e-mail explaining the focus group programme. Here there is the e-mail invitation text: Ciao Cassandra, ti contattiamo su indicazione di mare culturale urbano per proporti di partecipare ad un progetto di co-design dei servizi. Se vuoi, puoi inoltrare questa mail ai ragazzi che fanno parte della fondazione e che pensi possano essere maggiormente interessati a questo tipo di attività. Sei interessato/a al progetto di Cascina Torrette di Trenno? Ti diamo la possibilità di esprimere la tua opinione a riguardo, attraverso la partecipazione ad un focus group - un breve incontro in cui discutere con altre persone i nuovi servizi e contribuire alla loro realizzazione. Ai partecipanti verrà data la possibilità di testare e commentare una simulazione dei servizi di cui potrebbe disporre il cortile della Cascina. Ai partecipanti ai focus group mare regala una mare card semplice, con la quale si potrà accedere ad alcuni servizi della Cascina una volta aperta. Maggiori informazioni sul progetto al link http://maremilano.org/mare/cascinatorrette-di-trenno/ Questi focus group nascono a supporto di una tesi di laurea magistrale del corso di Laurea Product Service System Design del Politecnico di Milano e in

collaborazione con mare culturale urbano. Il progetto di tesi è stato sviluppato partendo da un insieme di attività, valori e parole chiave condivisi con mare nell’ambito della progettazione dei servizi per il cortile di Cascina. I focus group serviranno ad analizzare “sul campo” il progetto di tesi in prossimità della sua conclusione. Il beneficio che ne trarrà mare culturale urbano sarà invece valutato in termini di suggerimenti, consigli, spunti, impressioni, sensazioni raccolte durante gli incontri. Vuoi partecipare? Scegli due tra le date proposte* ed invia una mail con i tuoi dati (compilando lo schema qui sotto) all’indirizzo di posta ricerca@maremilano. org, indicando come oggetto “Co-design Cascina Torrette”. L’incontro si svolgerà all’8° piano della palazzina C di Cenni di Cambiamento, in Via G. Gabetti 15 a Milano (ritrovo a piano terreno fuori dagli uffici di mare culturale urbano 15min prima dell’inizio dell’incontro). Le date disponibili sono: - venerdì 18 Marzo, ore 19.00 / 20.30 - sabato 19 Marzo, ore 10.00 / 12.00 - mercoledì 6 Aprile, ore 19.00 / 20.30 - giovedì 7 Aprile, ore 19.00 / 20.30 *cercheremo di tenere in conto la prima preferenza espressa; la seconda preferenza serve solo in caso la prima data indicata non raggiunga il numero minimo di partecipanti. Iscrizione (per mail): Destinatario: ricerca@maremilano.org Oggetto: “Co-design Cascina Torrette” Informazioni richieste: Nome Cognome Data di nascita E-mail Contatto telefonico Giorni di preferenza Il trattamento dei dati personali è ad esclusivo utilizzo interno, nell’ambito dell’organizzazione di questo progetto. Nessun nome, dato o contatto verrà divulgato all’esterno o verso terzi. Per maggiori informazioni scrivi a ricerca@ maremilano.org oppure visita il sito www.maremilano.org. Cordialmente,

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Focus group Storyboard and Fig. 48 questionnaires, photo by author

10.3.2 FOCUS GROUP STRUCTURE: LET PEOPLE DESIGN The focus group was organized in every parts and aspects. I designed the tolls to facilitate the discussion but also the location. The eighth floor of Cenni di Cambiamento was equipped with shelves, tables, chairs, sofas and other furnitures. In this way I had the possibility to set the space according to my need. Focus groups took place around a table and each participants had his own organized station. In fact each attendees had available colored post-it, markers, pens, white paper, a schematize map of Cascina Torrette di Trenno with all the activities highlighted, a storyboard to understand the storytelling of the project, a questionnaire to evaluate the focus group at the end of the session and some flayers of mare culturale urbano to advertize its project. The setting space was characterized by a big map of Cascina where all people involved stuck the avaiable post-it writing their ideas and opinions. 1. The first phase of the focus group consisted on the presentation of myself and my project idea. In this way, participants were made aware of almost all the parts of the project. The explanation were supported by a synthetic description of each services and an emotional storytelling that gave people an emphatic perspective on the project idea. The storyboard helped participants to be really involve in the process and to better understand the concept behinde. I decided to conclude this initaial part with a question capable of getting the discussion start. 2. Therefore, after this phase in which I was the only speaking protagonist, started another and more interesting one. People had to write on a post-it their three favourite services, specifying the time of the day (morning, afternoon, evening, during the weekend or weekdays) more appropriate for such activity. Participants had three minutes to decided among the services that I had previously described. After those time, they had to stuck the post-it on the big map. The result was a first and clear vision of the most voted activities and this overview have generated an active dialogue about the different opinions and point of views.

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| 10. FOCUS GROUP

Fig. 48

Focus group with citizens, Fig. 49 photo by author

Fig. 49

3. The next step was writing participants opinion, going in depth on their ideas. They had at their disposal two yellow post-it in which write negative opinion, serviceâ&#x20AC;&#x2122;s weaknesses or threats while two green post-it for positive aspects of the services, opportunities or strenghts. Attendees had about five minutes to write down thier advices and to stick the post-it on the map. The end of this second evaluating phase, generate another dialogue between participant and the florishing of ideas and interesting insights. My role was to stimulate the conversation, trying to consult the opinion of everyone involved in the session. 4. Finally in the last phase was dedicatd to the compilation of a questionnaire that I will analyze in the nexst paragraph. The aim was to have a tools to evaluate the focus group and improve similar future experiences. - Post-it structure mockup:

Repair Cafe Weekend

Festivo

I would like to...

FOCUS GROUP 10. |

259

10.3.3 FOCUS GROUP INSIGHTS This paragraph analyses in depth the four focus group sessions thanks to the records of the focus groups. Considering all the focus group sessions, the participants were 19, 7 males and 12 females, of various age. This gave me the possibility to have an extended overview on the project. First of all I have schematized the tipology of participants, highlighting the age throughout percentage diagram. Then I have extrapolated the data of the first focus group part: favourite services analysis and favourite schedules services analysis. It easy to understand how many people select a specific activities instead of anothers. The second part is more descriptive, because participant had to write their personal opinions about activities using colored post-it. I decided to group together the similar ones, creating a short list of advices and doubts for each services. Moreover, thanks to a specific diagram, itâ&#x20AC;&#x2122;s possible to have a visual and fast overview of the general situation, using the colored boxes to navigate the framework.

"ho cercato da tempo un luogo dove si impara qualcosa, infatti, quando ho visto la falegnameria fuori dalla cascina, mi sono detta: forse mi torna il sorriso!" anna

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| 10. FOCUS GROUP

- Participants analysis;

60 - 80 YEARS 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

20 - 40 YEARS

40 - 60 YEARS

12/19

7/19

Male

Female

30%

50%

20%

20 - 40 years old

40 - 60 years old

60 - 80 years old

FOCUS GROUP 10. |

261

Table setting, Fig. 50 photo by author

- Favourite services analysis;

19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

7/22

15/19 13/19

10/19

Open Co-Wo

262

3/22

4/19

Digital Area

| 10. FOCUS GROUP

Events

Market

Repair Cafe

Area Relax

Fig. 50

- Favourite schedules services analysis; Weekend morning Weekend afternoon

Weekend evening Weekdays morning

Weekdays afternoon Weekdays evening

19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

Open Co-Wo

Digital Area

Events

Market

Repair Cafe

Area Relax

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- Opinions analysis; Strenghts and opportunities Weakness and threats

"sarebbe bello lasciare uno spazietto non ancora definito, come un orizzonte , che aiuti ad attrarre energie dall'esterno"

% of people

10 9 8 7 6 5 4 3 2 1

Open Co-Wo

264

Digital Area

| 10. FOCUS GROUP

Events

Market

Repair Cafe

Area Relax

federico

- Opinions report; Strenghts and opportunities:

Open Co-Wo: - It might be a space for young people, to study together, especially when libraries and other services are closed. - Is it possible to organize meeting in the open space? - It is interesting thanks to the relational and spatial quality of the environmet - The Open Co-Wo is innovative in respect to the other indoor competitors. Digital Area: / Events: - Itâ&#x20AC;&#x2122;s an opportunity to bring cultural flowering in the neighborhood and to attract new people from other part of the city. - The mix between creativity, culture and sustainability is positive. - Collective and inclusive events for everyone. - Promotion of cultural activities - People involvement in the events program setting. Market: - It should be different from the other market. The producers should sell their products directly to citizens. - It would be nice to have 0 kilometers products.

Weakness and threats:

Open Co-Wo: - Furnitures should be modular and flexible in order to be easily reconfigured according to the scheduled events and to the weather condition. - It is too close to the playing area. - It would be better if closed. Digital Area: - Furnitures should be modular and flexible in order to be easily reconfigured according to the scheduled events and to the weather condition. - It seems useless. Events: - They could disturb the public peace. - The space has a limited capacity to host people. - The weather conditions could endanger the events planning. - Management problems between the events and other activities. - Risk to provide only exclusive and â&#x20AC;&#x153;radical chicâ&#x20AC;? events. Market: - The development of a market service without any sense of identy, similar to other markets aroun the city.

FOCUS GROUP 10. |

265

Strenghts and opportunities:

Weakness and threats:

Repair Cafe: - More easy than the time bank. - It’s a good opportunity to meet people and to learn things about repair and reuse. Sharing knowledge. - Thanks to the Repair Cafe it could be more easy to improve relational ties among citizens. - Double meaning of “repair”. Repair of objects and of relationships. - Reuse and recycle attitude.

Repair Cafe: - How to mach supply and demand?

Area Relax: - There is enough space for many activities. - It is interesting to think about the Area Relax as an anolog space, to meet people, read a book or take a break without technological devices. - It is possible to create an exchage benefits system between the Area Relax and the restaurant in order to avoid conflicts between parties.

Generic: - Cascina Torrette di Trenno is not visible from Via Novara. - What about security problems?

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| 10. FOCUS GROUP

Area Relax: - During the autumn and the winter, the space has to be closed in order to make the area more comfortable. - Difficulties for the free and collective aspect of the Area Relax in relation with business activities such as the restaurant.

Questionnaire prototype Grap. 52

FOCUS GROUP CASCINA TORRETTE DI TRENNO

grap.52

Grazie per aver contribuito a rendere unica la tua futura esperienza in Cascina. - lascia un commento su questo focus group -

Data Ora

Età

10.3.4 FOCUS GROUP STRUCTURE EVALUATION As mentioned above, the last part of each focus group consisted of a short questionnair for the participants. The main aim was to have a tool through which evaluate the focus group itself. No more information about the project, just answers about the organization of the session in order to design better tools for a future and similar co-design session. The questionnaire consists of two parts: the first one requests just few personal data, the second one requests to evaluate the focus group you have attended to. I noticed that usually people prefer multiple choice questions instead of essay ones. In fact many multiple choice questions were not filled out. The questions were the follows: 1° Which group you belong to? 2° Have you ever taken part in a focus group before now? 3° What kind of impression did you get? 4° Are you satisfied by the meeting? 5° Which part do you think has been more interesting? 6° Provide a short description of what should be improved and how.

Di quale gruppo fai parte? Abitanti Cenni / Foyer

Commercianti

Abitanti zona 7

Istituzioni

Associazioni locali

Altro

Avevi mai parteciato ad un focus group? Si

- Personal info - Focus group info

Quale impressione hai avuto dall’incontro? Indiﬀerente

Molto buona

Negativa

Ottima

- Info about your peer group

- Info about your previous experience - Info about your focus group’s impression

Buona

L’incontro ha soddisfatto le tue aspettative? Assolutamente no

Assolutamente si

- Info about your expectations

In parte

Quale parte del focus group hai ritenuto più utile?

Descrivi brevemente cosa miglioreresti e come.

- Your favourite focus group’s part - Your advices to improve a focus group experience

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- Questionnaire evaluation; 1° Which group you belong to?

2° Have you ever taken part in a focus group before now?

% of people

100

50 40

16/19

50 8/19

7/19

3/19

20 2/19

3/19

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| 10. FOCUS GROUP

Others

Institutions

Business activities

Local association

Citizens of Zone 7

Cenni’s inhabitants/ Foyer

0/19 Yes

3째 What kind of impression did you get?

4째 Are you satisfied by the meeting?

% of people

100

60 9/19

8/19

1/19

0/19

Uninteresting Negative

Good

Very good

12/19

Excellent

4/19 0/19

0/19

Absolutely not

In part

3/19

Yes

Absolutely Yes

FOCUS GROUP 10. |

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Grap. 53 Focus group preferences, by author

5Â° Which part do you think has been more interesting? - FOCUS GROUP VALUTATIVE ANALYSIS

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| 10. FOCUS GROUP

Narrative Part

Evaluation Part

Motivational Part

5/19

7/19

13/19

Think that the most interesting part was the storytelling one. According to their opinion, the services and space explanation and the tools used to support the narration, were inspire and emotional.

Think that the possibility of choosing and select the time of the day and of the week for the favourites activities, was very useful.

Think that the sharing of opinion, ideas and insights both through post-it and a dialog between participants, was very interesting in order to have a collective point of view on the Cascinaâ&#x20AC;&#x2122;s spaces and services.

Grap. 54 Focus group evaluation, by author

6째 Provide a short description of what should be improved and how. - FOCUS GROUP VALUTATIVE ANALYSIS

How to improve the focus group experiences:

It would have been preferable to have more details about the service to have more clear and defined idea of activities.

It would have been preferable to have a more warm and comfortable environment to facilitate the dialog.

Add more graphic materials and visual stimuli

Share food and beverages on the round table

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271

- Focus groups evaluation; 18th MARCH 2016 4 participants | mean age 57 years

19th MARCH 2016 3 participants | mean age 33 years

Participants satisfaction

high People attendance

medium low

high People involvement

People attendance

FOCUS GROUP EVALUATION

Tools efficiency

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| 10. FOCUS GROUP

low

People involvement

FOCUS GROUP EVALUATION

Creativity

Results quality

medium

Tools efficiency

Creativity

Results quality

6th APRIL 2016 7 participants | mean age 44 years

7th APRIL 2016 5 participants | mean age 42 years

Participants satisfaction

high People attendance

medium low

high People involvement

People attendance

FOCUS GROUP EVALUATION

Tools efficiency

low

People involvement

FOCUS GROUP EVALUATION

Creativity

Results quality

medium

Tools efficiency

Creativity

Results quality

FOCUS GROUP 10. |

273

274

11. final thought CONCLUSION AND ACKNOWLEDGEMENTS

275

11.1 FINAL THOUGHT My Thesis disertation took place to research new approaches and designing strategies, in order to sew that deep tear which affects the relationship between town-neighbourhood-citizens. The farmyard of Cascina Torrette di Trenno becomes the core of my thesis. Into it are crossing several fluxes made by people, relationships, training, experiences, and so on. This “heart” full of activities produces and gives new oxygen to the local structures, either urban than social, bringing back new life in them. This study has always been a continuous sharing and exchange with other professionals, inhabitants, interlocutors, trying to draw a collective and shared path. The results of this thesis, should be verified by its practical effects. In fact, how the previous research’s works show us, other similar experiences of my thesis, have been often very positives, regarding their expectations and targets. We ought understand if the project will have the desired effect, through its specific features, since It should be the only possible conclusion for this kind of thesis. Repeating these concept with few words: is really possible which a place of memory like Cascina Torrette di Trenno might become a regenerating center for an entire community, using the proposed designed methodics? And again, very shortly: will it actually work? The answer is double. By a side, this answer should be given on next future, when mare culturale urbano will finish the renovation works and Cascina Torrette di Trenno will be open (althought my projects is a bit different from that of mare culturale urbano for the appereance, actually they have a quite similar social inclusion aim). Otherwise we shouldn’t wait so long to get this answer, neither I might avoid self-verifying and self-critic. On the other hand in fact, the experience made with the focus groups seems to be essential to understand the real quality of the project, as well as it helps to get the answer to the previous question. The participation of those people present in the focus groups, their answers and their spontaneous involvement, have already answered to the question “will it work?”. That is, a project made for local community, and designed together with it, works if this community puts a tangible effort to achieve it. My proposal regarding virtual and physical spaces and services offered in my courtyard, has got a good feedback. But its best confirmation has been the presence of willing citizens which wanted to contribute not only to their district, but also to this thesis: they spent their spare time without any compensation, for me e for their own little piece of city. Therefore, if still more people perceive as own a projects like MyA, and they stop the selfishness suggested by contemporary society, chosing to share time and resources, then this thesis will work, as well as whole communities or societies. Like the old poet John Donne wrote, five hundred years ago:

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| 11. FINAL THOUGHT

No man is an island entire of itself; every man is a piece of the continent, a part of the main; john donne, 1624

FINAL THOUGHT 11. |

277

11.2 ACKNOWLEDGEMENTS I remember clearly the day in which Professor Meroni talked me about the project for the first time. It was almost one year ago, but it seems yesterday. It was a long and hard design experience but also interesting, exciting and formative for my professional growth. This thesis project seems to be the best conclusion after these five years at the Politecnico di Milano and first of all I would like to thank Professor Meroni and Professor Corubolo who put me in touch with the dynamic and innovative world of mare culturale urbano, always giving me valuable advices and important insights for the research. Special thanks are due to the amazing team of mare culturale urbano, and in particular to Ilaria, Sergio e Guido. The project wouldn’t have been so shaped without them and probably it would never be designed. Their role has been crucial for the thesis development and usefull to improve my professional skills in a real working environment. Clearly, this kind of technical support has been sustained by another kind of support, different but still fundamental for the development of a good project. I’m talking about the emotial and sentimental support of my family: my parents, my sister, my grandmother, my cousins and all the other close family members. Despite of distance, their continued presence has allowed me to be here today, with this results. So, thank you for having been an important reference point for me, for having listened and suggested me in every situations, thank you for having been always near me. My thanks go also to all my friends who have been a good reason for determination and encouragement. Finally, special thanks are due to a person who has been for me an emotional support, an incentive and a motivational assistance during all the design phase of the project and an encouragement for some times of panic. Without him, I wouldn’t have had a fundamental point of reference and confrontation. Without him, this project wouldn’d has had this features, maybe it would has been emptier. This thesis has this kind of shape and I’m proud of this, especially thanks to you. Thanks, Lu.

278

11.2 RINGRAZIAMENTI Ricordo vividamente il giorno in cui la Professoressa Meroni mi parlò del progetto per la prima volta, e, anche se è passato quasi un anno, mi sembra sia stato ieri. Si è trattata di un’esperienza progettuale lunga e faticosa ma infinitamente interessante, stimolante e formativa per la mia crescita professionale. La stesura di questa tesi sembra essere il modo migliore per concludere questi cinque anni presso il Politecnico di Milano e per questo mi sento di dover ringraziare innanzitutto la Professoressa Meroni e la Prefessoressa Corubolo che, oltre ad avermi messa in contatto con la dinamica ed innovativa realtà di mare culturale urbano, sono state sempre fonte di preziosi consigli e stimoli per la ricerca. Un ringraziamento speciale va anche a tutto lo straordinario team di mare culturale urbano, ed in particolare ad Ilaria, Sergio e Guido. Senza di loro, il progetto non avrebbe preso questa forma e probabilmente non sarebbe mai nato. Il loro ruolo è stato determimante per lo sviluppo della tesi ed estremamente utile per migliorare le mie competenze professionali in un reale contesto di lavoro. È evidente, però, che questo tipo di supporto tecnico sia stato affiancato da un’altra tipologia di sostegno, diversa per natura, ma altrettanto fondamentale per un buona riuscita della tesi stessa. Si tratta del supporto psicologico e affettivo della mia famiglia: i miei genitori, mia sorella, mia nonna, i miei cugini e tutti i miei familiari più vicini. Nonostante la distanza, la loro costante presenza mi ha permesso di essere qui oggi, con questi risultati in mano. Grazie, dunque, per essere stati un importante punto di riferimento, grazie per avermi ascoltato e consigliato anche quando sembravano non esserci soluzioni, grazie per essere stati sempre al mio fianco. Un pensiero va anche anche ai miei amici che, chi da vicino e chi da lontano, chi più e chi meno, sono stati motivo di determinazione, forza ed incoraggiamento, mai stanchi delle mie chiacchiere e sempre pronti a trovare il lato ironico della situazione. Infine, un ringraziamento speciale ed unico va alla persona che da sola è stata per me supporto emotivo, sostegno, stimolo e motivazione nella fase progettuale ed incoraggiamento negli occasionali momenti di panico. Senza questa persona sarei stata priva del più importante punto di riferimento e confronto, del più forte sostegno. Senza di lei questo progetto sarebbe stato diverso, forse più vuoto. Se questa tesi è così oggi e se posso esserne orgogliosa è soprattutto perché devo dire grazie a te, grazie Lu.

279

280

12. bibliography SOURCES INDEX

281

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