Masters Thesis by Suee Chang

Lingotto FIAT , Torino: Culture-led Regeneration and Feasibility Analysis

SUEE CHANG

P OLI T E C N IC O DI M IL A NO ARC I - Facolta di Architettura Architettura e SocietĂ MI Corso di Laurea Magistreale / Specialistica in Architettura

LINGOTTO FIAT culture-led regeneration and feasibility analysis

Relatore: Prof. ing. Sergio Mattia

Projetto di Laurea Magistreale di:

Correlatore : Prof. urb. Alessandra Pandolfi

Suee Chang Matr: 749483

Anno Accademico 2010~2011

Abstract

The primary objective of this research is to suggest a new identity for Torino as a tourist attraction in order to overcome the industrial perception of the city, which has resulted from the economic debilitation that has plagued wastelands since the mid-1970s. The focus of this study is the Lingotto factory of the company FIAT, which was constructed in the 1920s. Based on case studies based on cities similar to Torino, this study investigates the potential of not only the factory but the economic and social effects of culture-led regeneration on the city of Torino. The specific aims of this study include the following: to suggest methods of revising the “brand image” of Torino and creating “Museum with cultural quarter” as a tourist attraction and its economic potentials; to investigate the potential effects of architectural landmarks and culture-led generation of Lingotto area on tourism and the economy; and to conduct feasibility analysis of and to lay out the potential of renovating FIAT’s Lingotto factory into a cultural attraction based case studies from other cities.

Key words :Torino, City, New identity,Tourist city,Tourism, Brand Image, Culture-led Regeneration, Lingotto, Museum, Cultural quarter, Feasibility analysis

COMUNE DI TORINO (THE CITY OF TORINO)

NATIONAL MUSEUM OF RISORGIMENTO

MUSEUM OF ANTIC ART

GALLERY OF MODERN AND CONTEMPORARY ART

EGYPTION MUSEUM

MOLE ANTONELLIANA (MUSEUM OF CINEMA) SCIENCE MUSEUM

NATIONAL MUSEUM OF MOUNTAIN

LINGOTTO FIAT

Tourism and Culture of TORINO Promote Torino as a city of culture, tourism, commerce and sports starts with the cultural wealth of Torino and a project for the development of tourism that will result in strong growth. The 2006 Winter Olympics are an opportunity for presenting the new image of the city. Museums / Visitors Piemonte: 82 Museum – 3 millions visitors (+ 250.000 since 2002) Metropolitan Area: 38 Museums – 2 million visitors (500.000 in 1992) Royal residence: 168.000 in 1997 – 430.000 in 2003 Contemporary art Torino has prestigious museums, art galleries, critics and artists. The City is commissioning works of art for public spaces (street, squares and public gardens). Within the next few years, one of the biggest open-air museums in the world. will be opened

Contents

Part 1. Torino, heading to major tourist city

Chapter 1. Torino: Ready to be a global city

1-1. Reclaiming industrial areas for the new economy 1-2. Tourism and transportation 1-2-1. The way to reach to Torino 1-2-2. Center of Ten-T project 1-2-3. High speed Train’s triangle : Lyon-Torino-Milano 1-3. Olympic games and Waste lands of FIAT 1-4. A semantic approach to Lingotto: potential and possibility heading to culture-led area 1-5. Competitive city image: Museum Economy

. . . . . . . . 12

Chapter 2. The City of Torino

. . . . . . . . 30

2-1. Economy of Torino 2-2. Industrial wave - “the Automotive Capital of Italy” 2-3. Confronting the crisis of ‘FORDISM’ by Economy Crisis 2-4. Reaction of city against Crisis: Urban Regeneration 2-5 Torino Strategy for Tourism 2-6. Winter Olympic 2006 Impact

. . . . . . . . 31

Chapter 3. Toruist City and City Branding

. . . . . . . . 51

3-1. Change towards Tourist city 3-1-1. Cultural Attractiveness for Tourist in Torino 3-1-2. Torino as a Tourist city 3-2. City Branding and Image, marketing 3-2-1. City marketing - more than just promoting a city 3-2-2. From city marketing to city branding: the city marketing mix 3-2-3. The city’s image 3-3 Culture-led Regeneration: Towards a theoretical framework for developing city brands 3-4. Methodology: Museum regeneration 3-4-1 Museum Effects 3-5. District Rebranding

. . . . . . . . 52

. . . . . . . . 15 . . . . . . . . 17 . . . . . . . . 18 . . . . . . . . 19 . . . . . . . . 23 . . . . . . . . 24 . . . . . . . . 28

. . . . . . . . 35 . . . . . . . . 37 . . . . . . . . 38 . . . . . . . . 42 . . . . . . . . 45

. . . . . . . . 52 . . . . . . . . 54 . . . . . . . . 56 . . . . . . . . 56 . . . . . . . . 56 . . . . . . . . 58 . . . . . . . . 58 . . . . . . . . 62 . . . . . . . . 63 . . . . . . . . 65

Chapter 4. Case study Museum: From industrial image to cultural place 4-1. The Guggenheim-Bilbao Museum Effect 4-1-1. The Cultural economy and local economic development 4-1-2. Focusing on tourism promotion 4-1-3. Guggenheim Impact 4-1-4. Evaluating the generation of tourism 4-2. Tate Modern Gallery: The rise, fall and transformation of Bank side power station 4-2-1. The Economic Impact of Tate Modern 4-2-2. Leading urban development 4-2-3. Conclusion 4-3. An Island of Art: Bennesse Art site Naoshima 4-3-1. Abandoned fishing town after Industries moving out 4-3-2. Challenge to An Island of Art 4-4. Dundee’s ‘Cultural Quarter’, Scotland, United Kingdom 4-4-1. Cultural Quarter - Water front Project 4-4-2. Regerneration of the city: V&A Museum , Dundee 4-5. Île Seguin : Turning an Abandoned Industrial Island into a Green Cultural Center in Paris 4-5-1. The history of Île Seguin 4-5-2. Artist place on Wasteland 4-5-3. A new Eco-Neighborhood 4-5-4. Grand Paris, Vallée de la Culture: a regional project

. . . . . . . . 66 . . . . . . . . 68 . . . . . . . . 68 . . . . . . . . 68 . . . . . . . . 71 . . . . . . . . 72 . . . . . . . . 73 . . . . . . . . 74 . . . . . . . . 78 . . . . . . . . 78 . . . . . . . . 81 . . . . . . . . 81 . . . . . . . . 82 . . . . . . . . 83 . . . . . . . . 83 . . . . . . . . 83 . . . . . . . . 85 . . . . . . . . 85 . . . . . . . . 86 . . . . . . . . 87 . . . . . . . . 88

Part 2. Transformation and feasibility analysis Chapter 5. Culture-led renovation of Lingotto

. . . . . . . . 94

5-1. History and Present of Lingotto: Landmark of Italian Industry 5-2. Defining an Heritage of Lingotto 5-3. S.W.O.T. Analysis

. . . . . . . . 94 . . . . . . . . 97 . . . . . . . . 98

Chapter 6. Transformation of Lingotto

. . . . . . . . 104

6-1. Lingotto FIAT For Tourism: New proposal on Lingotto as a museum 6-2. Museum Strategy : Benchmarking of superstar Museum 6-3. Museum Network: Railway network

. . . . . . . . 104

Chapter 7. Fosting Cultural Quarters

. . . . . . . . 108

7-1. Sustainable Development 7-2. Cultural Quarter 7-3. Creative Economy, Cultural/Art Cluster and Gentrification 7-4. Business Quarter: Regione Piemonte 2015 7-5. Culture Impact on Olympic Village 7-5-1. MOI ex-mercato: Cultural enterprise for local Artist and Craftsman 7-5-2. Olympic Village - Youth hostel & Residential 7-6. Cultural Sprawl

. . . . . . . . 108

Chapter 8. Project Scheme 8-1. General Information: Lingotto FIAT + FIERE 8-2. MOI Ex-Mercato 8-3. Residence in Olympic Village 8-4. Piemonte Headquarter on Ex-AVIO 8-5. Connection over Railway - Lingotto Train Station, Arch Foot Bridge

. . . . . . . . 108

. . . . . . . . 108 . . . . . . . . 112 . . . . . . . . 113 . . . . . . . . 115 . . . . . . . . 115 . . . . . . . . 115 . . . . . . . . 117

. . . . . . . . 123 . . . . . . . . 124 . . . . . . . . 132 . . . . . . . . 134 . . . . . . . . 136 . . . . . . . . 138

Chapter 9. The Financial and Economic Analysis

. . . . . . . . 140

9-1. Feature of the Project of Museum 9-2. Financial analysis 9-2-1. Determining Total Costs 9-2-2. Total Investment Costs

. . . . . . . . 140 . . . . . . . . 140 . . . . . . . . 144 . . . . . . . . 145

9-2-2-1. FIXED INVESTMENTS

. . . . . . . . 145

9-2-2-2. START-UP COST

. . . . . . . . 145

9-2-2-3. CHANGES IN WORKING CAPITAL

. . . . . . . . 146

9-2-3. Total Operating Costs and Revenues

. . . . . . . . 146

9-2-3-1. OPERATING COSTS

. . . . . . . . 147

9-2-3-1. REVENUES Generated by the Project

. . . . . . . . 148

9-2-4. Financial return on investment 9-2-5. Financial sustainability 9-2-6. Financial return on capital

. . . . . . . . 107

. . . . . . . . 148 . . . . . . . . 150 . . . . . . . . 150

9-3. Economic analysis 9-4. Costs analysis and appraisal 9-4-1. Principles of Cadastral Surveying 9-4-2. Building costs Estimates 9-4-3. Unit prices analysis

. . . . . . . . 150 . . . . . . . . 153 . . . . . . . . 153 . . . . . . . . 153 . . . . . . . . 155

9-4-3-1. SYNTHETIC AND COMPARATIVE METHOD

. . . . . . . . 156

9-4-3-2. ANALYTIC AND RECONSTRUCTIVE METHOD

. . . . . . . . 156

9-4-3-3. TYPOLOGICAL PRICE LISTS

. . . . . . . . 157

9-4-4. Market Analysis 9-4-4-1. SUPPLY AND DEMAND ANALYSIS

. . . . . . . . 157 . . . . . . . . 157

Chapter 10. Preliminary optional Estimations

. . . . . . . . 160

10-1. Preliminary optional Estimations (Museum) 10-1-1. Construction costs (CR tools: Price list) 10-1-2. Building Functional income and Operaring Costs

. . . . . . . . 162 . . . . . . . . 162 . . . . . . . . 166

(CR tools: Market value analysis)

10-1-3. Other costs (Supply and Demand analysis) - Comparison of Museum CR analysis 10-1-4. HP option 1 10-1-5. HP option 2 10-1-6. HP option 3 10-1-7. HP option 4 10-1-8. HP option 5 10-2. Preliminary optional Estimations (with Olympic village) 10-2-1. Construction costs (CR tools: Price list) 10-2-2. Building Functional income and Operaring Costs (CR tools: Market value analysis)

- Comparison of Museum with Olympic village CR analysis 10-2-3. Other costs (Supply and Demand analysis) 10-2-4. HP option 6 10-2-5. HP option 7 10-2-6. HP option 8 10-3 Conclusion

. . . . . . . . 171

. . . . . . . . 173 . . . . . . . . 185 . . . . . . . . 197 . . . . . . . . 209 . . . . . . . . 221 . . . . . . . . 232 . . . . . . . . 234 . . . . . . . . 236 . . . . . . . . 237 . . . . . . . . 238 . . . . . . . . 250 . . . . . . . . 262 . . . . . . . . 274

Appendix A 1. Index 2. Table of Contents 2. Notes 3. Bibliography 4. Webliography

Appendix B 1. Ten-T EU 2. Piemonte Figure and Urban Plan 3. Museums in Torino 4. Real Estate Price in Torino

. . . . . . . . 278 . . . . . . . . 282 . . . . . . . . 285 . . . . . . . . 289 . . . . . . . . 293

Part 1. Torino, heading to major tourist city

Chronological Events in Torino

10.

Figure 1. Time line of important events in Torino Sources 1) Turin World Design Cap 2) P.241, Phoenix cities: the fall and rise of By Anne Power, Jรถrg Plรถger, Astrid Winkler, The Policy

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Introduction

1. Torino: Ready to be a global city

1-1. Reclaiming industrial areas for the new economy

planning processes. Torino city government initiated several strategies and plans

during the 1990s in order to support and Torino has been automaker Fiat’s strong-

hold for decades, earning it the title, ‘the

Italian Detroit’. Capital of the region of Piemonte (Piedmont), Torino was the heart

a climate that enabled the region’s innate

entrepreneurial spirit to adapt to a changing global market.

The 1995 Town Plan had given a blue-

of the industrial triangle that drove Italy’s

print for a wide urban project trying to

The oil crisis of the mid-1970s and increas-

sioned industrial areas. The strategic plan

economic miracle in the 1960s and 1970s.

ing global competition led Fiat to restructure its supply chains, with a negative

impact on the local manufacturing-based economy and Fiat moved their supply to

south Italy and eastern European country and left wastelands in Torino.

As Torino became to lose their important

position as a industrial city, Torino carried forward new strategy that integrating

metropolitan area to global city and promoting Torino as a city of culture, tourism,

commerce and sport. The partial devolution of national government power to locally-elected mayors galvanized a new

momentum for Torino in the early 1990s, as Mayor Castellani initiated two major

12.

spread transformation processes, creating

revitalize and transform the decommislinked the changes already underway in the city’s leftover pervious auto sector to a

new vision for Torino as a globally-orient-

ed, innovative and diversified economy, supported by a new city master plan that

enabled Torino’s outmoded industrial core

to be re-configured for the new economy. The new

master plan enabled Torino’s

outmoded industrial artery and railway running through the centre of the city to

be reclaimed for new uses. The main objective of this Plan was the commodifica-

tion and conversion of industrial legacies and services through a renewal of some

abandoned areas. It is possible to say that this Plan aimed to weave the heterogene-

Pic. 1.1 Progetto della nuova cinta daziaria scala 1:250000 Source : http://www.rapu.it

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Fig. 1.1 Flight Destinations from Torino Source : http://www.flytorino.it

Fig 1.2 Changes of Tourist in Piemonte Region (number of Presnce) Source : http://www.flytorino.it

14.

ous social and urban fabric within a coherent

project (Bagnasco 1990) . The ‘Spina Centrale’ 1

(central backbone) and four brown field sites

are being redeveloped into mixed-use neigh-

bourhoods, and linked back to the urban fabric through new transport infrastructure,

including Torino’s first metro line and a highspeed link to Milan.

Based on urban redevelopment of transpor-

tation and infrastructure, Torino spurred to

change their city image from their old industrialized city to city of culture, tourism, commerce and sports. The biggest challenge was

the ‘Winter Olympic Game’ in 2006, and it was a great event to jump-start city’s promotion.

Last decade Torino has changed to and put

their action into practice quite successfully, and is still running on. Despite of Torino’s

effort, many people perceive Torino’s trace of industrialized image. In this paper, with the

aim of Torino to be a new culture and tour-

ism city as like Florence and Venice I analyse urban feature and potential and possibility on

the city and develop Lingotto area as a cultural quarter through LINGOTTO FIAT’s revovation to Museum to support city’s strategy and attract more visitors.

Tourist cities shift their focus from the needs of city residents to desires of people living elsewhere. They therefore sell themselves as

a place to visit to people in nearby suburbs,

across the country, and around the world. In

part, they do so by advertising in a manner

similar to business marketing a consumer product, highlighting the value of their her-

itage, vitality, and unique attractions. But also construct their infrastructure and pro-

vide amenities to ensure that the tourists will

have something to do, and will be able to get around, when they are in the city3.

Improvements to the airport and its connections area very useful to rourists as to those

who travel to maintain their tourism and

global business4. Indeed Torino has merit from European transportation system (Fig.

1.1). The flights arrive from other major Euro-

pean city and railway link other small towns to big cities. Transportation brings more peo-

ple into Torino. The railway stations of Torino

(Porta Nuova and Porta Susa) are connected directly by train or by bus transfer with the most important ski resorts in Piedmont (Ses-

triere, Sauze d’Oulx, Cesana San Sicario, Claviere, Bardonecchia, Pragelato) and the French ski resorts (Montgenevre, Briançon).

So many visitors come to Piemonte for hiking

for summer and skiing for winter5. Piemonte’s

1-2. Tourism and Transportation Aim of Torino to be tourism is closely related

to transportation network. Dennis Judd and Susan Fainstein describe in their influential

book ‘The tourist city’, the transition of ma-

jor cities into vehicles for attracting tourists2. 1. Alexia De Steffani (2011) / A la caste urban policies, mega-events: From exceptionality of ordinary planning practies. A look ar Italy: Case study of the 2006 WInter Olympic Games in Turin Research – Lieuvous atetis science- future of Lithuania 2. Judd, Dennis R., Fainstein, Susan S. (1999) / The tourist city/ New Haven and London : Yale university press,

tourists have steadily increased last 10 years by flights and rails or cars (Fig 1.2). However number of visitors of metropolitan of Torino

is tardy in progress compared to Piemonte’s

growth of Tourism. Challenge of Torino is at3. Gerald E. Frug and David J. Barron. (2008)/ City bound: how states stifle urban innovation / New York ; London: Cornell University, p. 167 4. Gerald E. Frug and David J. Barron. (2008)/ City bound: how states stifle urban innovation / New York ; London: Cornell University, p. 167 5. Distance of Major Tourists destination from Torino Airport: • 16 Km from Torino/ • 80 Km from Alba and the Langhe area/ • 100 Km from the ski resorts/ • 110 Km from Aosta/ • 120 Km from Lake Maggiore/ • 150 Km from Milan/ • 160 Km from Savona/ • 190 Km from Genoa/ • 250 Km from Geneva

.15

Figure 2. Ten-T project EU and Torino’s geographical location

Figure 1.3 Transportation corridor of Europe

Source: TEN-T delle Executive Agency e dei Trasporti (last update : 27/10/2010) Source : Ministero infrastruttura

Project 1

Amsterdam

UK UK

NETHERLANDS

Project 3

POLAND

Leipzig

Köln

Bruxelles/Brussel

GERMAN Y Frankfurt

BE LGIU M

Project 6 Project 24

Düsseldorf

Antwerpen

Frankfurt am Main

LUX.

Mannheim

CZECH RE P.

Nürhberg

Paris

SLOVAKIANyiregyhaza Miskolc Freiburg

Tours

Salzburg

Basel

SWI TZERBern

FRANCE

LAND

Bolzano

Lyon Novara

Boedeaux

Brecia

Milano

Torino Bilbao Bilbao

Montpelier

Genova

PIEMONTE

Palercia

HUNGARY

Ljubljana

Trieste SLOVE NIA

Verona Venezia Koper

CROATIA

Parma

BOSNIA & HERZEG OVIN A

Bologna Firenze

ITALY Figueras

Zaragoza Madrid

Budapest

Innsbrug AUSTRI A

Roma

SPAI N

Barcelona Tarragona

Napoli

Calabria Palermo

Figure 1.4 Major Ten-T Project’s Linre pass Torino and relevant Lines

16.

tract those people who visit Piemonte but not

• By Rail

Transportation opens a route for people to

point of access to and from Europe. The city’s

has to make the best of an opportunity. There

points, thus guaranteeing rapid and smooth

to visiting Torino with diversity in the city.

the city, so if the city has this merit, the city are transportation network Torino has or will have.

Given its situation, Torino is an important

motorway exits are located at all four cardinal

traffic. In addition, the city is surrounded

by the tangenziale ring-road, which makes it possible to reach the various parts of the Piedmontese capital without having to drive

1-2-1. The way to reach to Torino

through the city center.

• By Plane

• By Car

Pertini, located approximately 16 km from

of Torino, and which connect it to other Ital-

The city of Torino has an airport, the Sandro the city. You can also reach Torino from Mal-

pensa airport, although it is more than 100 km away. Torino’s main airport, Caselle Airport,

connects 22 countries and has 24 international lines and national 15 lines. Thanks to the flights landing at Torino Airport, the city can

be reached from other cities in Italy, includ-

ing: Bari, Cagliari, Catania, Florence, Genoa, Lamezia Terme, Naples, Olbia, Palermo, Pescara, Reggio Calabria, Rome, Trapani and Trieste. The Sandro Pertini airport is also an

important stop for international flights which link the Piemontese capital with some other foreign cities, such as Amsterdam, Athens,

Here is a list of motorways linked to the city ian cities. A4 (Totino – Milano), A5 (Torino -

Ivrea), A6 (Turin – Savona), A21 (Torino – Pia-

cenza). The Piedmontese capital also has links to France, through important passes. The A32 motorway links the city to Fréjus Tunnel. In

addition, there are also the Grand Saint Ber-

nard and Mont Blanc Tunnels. As well as the

toll-motorway, the city of Torino is connected by a network of trunk roads, which are tollfree, which are integrated with the motorway network. 6 Line

Distance

Torino - Aosta

110 km

Torino - Bologna

332 km

Torino - Bolzano

410 km

Torino - Florence

395 km

Timisoara, Tirana and Vienna.

Torino - Genova

170 km

Torino - Milano

138 km

an extensive network of junctions. The city

Torino - Rome

673 km

Torino - Trieste

542 km

Torino - Venezia

402 km

Torino - Napoli

871 km

Torino - Pisa

335 km

Barcelona, Brussels, Casablanca, Krakow,

Düsseldorf, Frankfurt, London Gatwick, Lon-

don Luton, London Stansted, Luxembourg,

Madrid, Munich, Oslo, Paris-CDG, Stuttgart, The city of Torino is also well connected with

has four stations, distributed through various parts of the city. Here are the train stations

and specific connections with other Italian and European cities. Dora station is used for the shuttle service to the Airport.

Table 1.1 Distance from main italian cities from Torino 6. http://www.a-torino.com/web/en/torino/come_arrivare.html

.17

Preferentially city’s competitiveness for tourism is its attractions what it has, accessibility is one of the most desired potential. Existing Torino’s combined connections have direct correlation between Tourism and number of visitors. But city feels something lacking for instance connection to more city within a shorter time. Below, Ten-T project demonstrates supplement policies to compensate the leaking of transportation routes and travel time.

portation network called

“Ten-T” Project.

Torino locates middle of Corridor 5 and Corridor 6 and a run cross-European country from

Lisbon to Kiev (Fig 1.3). Further the whole Ten-T projects spread from Torino ‘West to

East’ and ‘North to South’. Throughout EU transportation system, people can come easier than before and tourist can stop by on the way

to Rome, Berlin or Venice for example. Geographically, technically Torino has advantageous position to grow as global city.

Ten-T aims to link every EU Member State,

1-2-2. Center of Ten-T project Aside from Torino’s effort to survive as a post industrial city among other global cities, To-

Existing railways New rail line (Italian part) Highway freight train Aiton-Orbassano New rail line (International part)

Table 1.2 Composition of Railway segment per typology Source : http://www.notavtorino.org/

18.

rino is located in the center of European trans-

include all modes of transport (road, rail,

maritime, inland, waterways, air, logistics,

co-modality, innovation) to ensure the cohe-

sion, interconnection and interoperability of the trans-European transport network, as

well as access to it.7 30 priority projects have

city’s attraction and marketing. Throughout

are included in the Union guidelines for the

ropean cities, Torino is ready to embrace more

been identified on the basis of proposals and development of the TEN-T as projects of European interest. 2 of projects are related

to Torino8 directly and 2 projects9 are indi-

the EU’s huge project to link all over the Euvisitors.

• Projects of Ten-T’s 30 priority projects which

rectly concerned in Torino (Milan - Torino

include Torino are written below (Figure 1.4).

railways go further to southwesthern Eur-

- Priority Project 6: Railway axis Lyon-Trieste-Divaca/

fast train connect each other and from Lyon,

oupe and Paris).Geographical location of To-

rino has big benefit from Ten-T Project . As 10

you see from figure 1.4, Torino is in the middel of the project(vertically in the middle of Berlin- Palermo line and horizontally Lyon-

Ukrainian line). Further way of this connec-

tions reach to Amsterdam and connect Lisboa

via Barcelona and Madrid to Lisboa. This networks show the possibility and potential

visitors can visit Torino easily with rail and re-

Koper-Divaca-Ljubljana-Budapest-Ukrainian border • 2007-EU-06010-P: New Lyon-Turin Rail Link - Franco-Italian Common Part of the International Section • 2007-FR-91209-S: Lyon-Turin railway project: French accesses to the Base Tunnel • 2008-FR-90902-S: Rail project Lyon-Turin: studies on French access routes to base tunnel • 2009-IT-06047-E: Hub of Torino, section Susa-Stura, Priority Project 6, removal of bottleneck - Priority Project 24: Railway axis Lyon/Genova-Basel-

duce travel time through Rail. This is strong

Duisburg-Rotterdam/Antwerpen

city marketing or more attraction makes city

1-2-3. High speed Train’s triangle : Lyon-Torino-

potential to be tourist city. If Torino have good that worth visiting, people willingly stops by

Milano

or From Barcelona to Venice. Or they will add

• Lyon-Torino (Project 6)

on the way, for example from Rome to Paris Torino on their intinerary when they visit Ita-

- Rotterdam-Basel-Torino (project 24)

This strength of transfortation will generate

• Projects of Ten-T’s 30 priority projects which

ly for their vacation.

a significant synergy effect when it meets to

relate to ‘Torino-Lyon Line’

7. http://tentea.ec.europa.eu/en/ten-t_projects/ 8. 1) Priority Project 6- Railway axis Lyon-Trieste-Divača/KoperDivača-Ljubljana-Budapest-Ukrainian border, 2) Priority Project 24- Railway axis Lyon/Genova-Basel-DuisburgRotterdam/Antwerpen 9. Priority Project 1- Railway axis Berlin-Verona/Milano-BolognaNapoli-Messina-Palermo 10 Ten-T EU: Trans-European Transport Network - Brusselsbased TEN-T Executive Agency was created by the European Commission in 2006. The Trans-European Transport Network is a major element for economic growth and job creation in Europe. The TEN-T is essential to facilitate the mobility of persons, goods and services and thus to the establishment of the internal market and the economic and social cohesion of the Union. The Trans-European Transport Network comprises transport infrastructure, traffic management systems and positioning and navigation systems.The transport infrastructure comprises road, rail, inland waterway networks, motorways of the sea, seaports and inland waterway ports, airports and other interconnection points between modal networks.

- Priority Project 1: Railway axis Berlin-Verona/MilanoBologna-Napoli-Messina-Palermo - Priority Project 3 High-speed railway axis of southwest Europe

According to ‘T-Ten EU’, high speed train

way launched between Torino and Lyon.

France and Italy have entered into an agree-

ment to build a high-speed rail line between

Lyon and Torino. The agreement for the €8.5 billion first phase defines the conditions for

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Figure 1.5 Three sections of te main project for TAV Torino-Lyon Source :Appioti, Marcincioni. 2009

Chartreuse tunnel Belledonne tunnel

Base tunnel

French Section RFF

Bussoleno tunnel

Musine tunnel

Italian Section RFI

International Section LTF

Figure 1.6 New Transportation effects Two of new North-South crossing rail routes will be opened within 2020 and the Lyon and Torino is under construction. Those two crossing routes will connect European important with high speed trains.

Figure 4.

Two of new north-south crossing rail routes will be opened within 2020 and the north east-west lyon turin is under construction. Those two crossing routes will connect European important nodes with higher speed.

G E R M A N Y

Munich

St. Gottard, Zurich

A U S T R I A

S W I T Z E R L A N D

F R A N C E

Agosto

Lyon

North and East Ivreaa

TO R I N O PROVINCE

France-East-North Lyon-Digion

Turin-Milan TTurin-Mila Mi an r ill link high-speed rail

Brescia

Milan

Torino Asti

Venezia

Verona

Novara

Piacenza

Alessandria

F T FIAT LLingotto o plant

Parma m ggio Emilia Reggio

P I E M O N T E

Porti

Genoa

I T A LY

Modena

Bologna

South

Road Link Rail Link

50 km

20.

100 km

Railway project

(under construction)

undertaking the project and the elements nec-

porting freight will temporary stop for be-

cluding its final route, phasing and funding

Bruzolo, supporting train length up to 750m,

essary for the completion of the project, inof the high speed line. The first phase entails a 57km base tunnel through the Alps between

Saint-Jean-de-Maurienne in France and Susa in Italy to connect the border regions. 57 km

of tunnel through the alps, completed in 2023, 250km/hr.

Despite the name, the Torino-Lyon doesnâ&#x20AC;&#x2122;t

pass to Torino town. Exiting from Gravio Musine tunnel, it takes the direction of Settimo

Torinese where it connects with the ordinary

and high-speed lines, Torinoâ&#x20AC;&#x201C;Milano (Fig 1.5).

Between Torino and Modane, rail doubling

completed in 1985 was done with the pur-

pose of running more than 100 trains daily. Since more than 30 years express trains runs

at 155 Km/h between Bussoleno and Alpig-

nano (30Km). France TGV and Italian TAV are running since several years on the historical line, managed by Artesia, which is a Trenita-

ing passed by the TGV/TAV, will be build at longer train will have to be split . The Torino node and its city crossing at Corso Marche

(close to western city border) will not be im-

plemented due to its high cost (RFI data), even though the administration of the Piemont Region and Province of

Torino has

asked several times RFI to reconsider it. People believes that one of the hidden reason of

not doing it, is because of it impact on the city and the consequent dramatic increase of the

opposition to the project. The absence of the Corso Marche interconnection together with a new goods yard at Settimo, will mark the death of the Orbassano site, which has been

recently completed with significant amount of publicfounds and where several related

commercial activities (e.g. agro-alimentary market) have beentransferred from the town.

When completed in 2023, the rail line will cut

lia and SNCF joint venture. Due to â&#x201A;Ź 6 mil-

travel time between Paris and Torino to four

celled all trains based on TGV/TAV material,

also shorten journey times between other ma-

lion losses at the end of 2004, Artesia has canscheduled between Milan and Lyon Part Dieu (Lyon center) and passing on the historical

line, because of the negative results, redirect-

ing them to Paris via Simplon. Now it takes 4 or 5 hours to reach Lyon from Torino, of

which 3:35 of real travel and the rest as waiting time at Chambery (direct trains no longer

exist). Torino to Paris journey takes only 5:21.

Because they are passing via Culoz instead at

hours from the current seven hours and will

jor European cities. Fig 1.6 shows networks

would be linked by Ten-T and Torino-Lyon rail project. The high speed train will shorten

the journey time between Lyon and Torino to two hours compared to the current four

hours. As it shows from fig 1.4., rail network gives Torino possibility of growth that may not connected by flight line.

So What can Torino get from Ten-T network?

Lyon and are stopping nowhere.

And what city of Torino has to make use of

between the new Torino-Lyon and the ordi-

section will explain the possibility and poten-

The high speed train connections are planned

nary line, at San Didero-Bruzolo (40Km west

of Torino) and at Settimo. Rumours indicate a possible built up of a new goods yard near-

the best way for it city marketing? The next

tial can promote the city of Torino and give urban impact as a tourist city.

by. A train stabling area, where trains trans-

.21

Figure 1.7 Turin Town Plan (1995)= it outlines the expected transformation areas and new urban axes and center (22. Oct. 2008)

22.

Pic 1.2. Formal olympic commercial center unused (moi ex-mercato, Olymi village 2006)

Pic 1.3. Shopping mall in Lingotto by Renzo Piano

1-3. Olympic games and Waste lands of FIAT

to find out a new purpose – mainly related to

FIAT has been a big symbol of contemporary

history of Torino and Lingotto was at the center of FIAT’s history over 80 years. Since 1982 after Ligotto closed its door as a car factory,

historical industrial building eventually ended. It was abandoned almost 20 years. Since

the first industrial decommissioning process-

es in late 1970s, Turin has tried both to move from a production-based to a consumption-

based economy and develop a renewed brand image far from its industrial notoriousness as “automotive capital”.

In such a way, the Winter Games worked as a

catalyst for policies already started and aimed

culture and leisure – both for the building and its area. Through competition for renovation

Lingotto FIAT, Renzo Piano won the competition and building has changed to multifunc-

tional facilities such as shopping mall and

Fiera, gallery and movie theater. It was the moment that Lingotto was born again and came into Torinese.

One of the most evident outcomes of the 2006 Games was the reaffirmation of Lingotto’s importance in the whole metropolitan region.

The 2006 Winter Olympics have worked as a

catalyst of all these processes and have partially confirmed the morphological and setting choices of the 1995 Town Plan (Fig 1.9).

Most of the Olympic facilities and infrastruc-

to evade from Turin’s single-culture destiny. It

tures have been located in the southern part

process of Torino is a long-term one, having

the industrial areas, but also the abandoned

is important to underline that the rethinking its roots in the late 1970s and the class fights

of the 1980s (see the well-studied “March of the 40,000”). The first step towards this trans-

formation was the architectural competition

of the city offering a chance to renew not only

buildings – nearby the Lingotto area – built

in 1961 for the Centenary Celebration of the Italian Unity.

Hosting Olympic Game was one of the strat-

for decommissioning Lingotto – the historical

egy to promote the city and bench marked

to move its production from the Lingotto

Which dressed the city up to the top priority’s

factory of FIAT – in 1982. When Fiat decided

building, it was immediately clear that the historical factory would have not been de-

stroyed. The international competition aimed

a successful case of Barcelona Olympic 1992 tourist city after event. The Winter Olympics were, of course, one part of the plan. They left

their mark all over the city—the two most cel-

.23

Multi Media Live Entertainment

Museums

Creative & Cultural

Life Assurance

Tourism Derivatives Trading

Finance & Buisiness

Tourism

International Banking

Routine Retailing

Manufacturing

Restaurants

Specialist Business Service

Decentralized Agencies

Figure 1.8 Major Service cluster in the Polycentric global city

Source : Hall, P. and Pain, K. (2006) / The Polycentric Metropolis: Learning from mega-city regions in Europe, Earthscan, London

ebrated examples are Japanese architect Arata

Isozaki’s Palasport arena and Gae Aulenti’s

Potential and possibility heading to culture-led

remodelling of the audacious Palavela, de-

area.

architects are now joining up to revamp Tori-

Some European cities have utilized culture,

village of Torino 140,490,000 (Business plan)

development tool. This has certain apparent

signed by Franco Levi in the sixties. And other

no’s desolate factoryscapes. For the Olympic 11

Euro was spent on

Ligotto area. Oval Lin-

gotto, Ice Rink Athletes residences, Olympic

commercial center constructed in Lingotto area (surrounding area of formal Lingotto industrial). But but even though the city and

such as museums, galleries, and festivals as a advantages. Culture can attract visitors, especially from more affluent classes, who stay

only a short while and make few demands on public services.

Since the late 1970s, derelict European in-

Italian gorvernment spent enormous Euros

dustrial cities have faced increasing struc-

lis has, in fact, been planning a comeback for

strategies, the rise of new media, economic

for events ,this northwestern Italian metropoyears. Most of facilities left empty and under used after Olympic games (Pic 1.2).

11. Officina Città Torino (2005) / Torino MOI : dai mercati generali al villaggio olimpico. - Torino : Officina Città Torino P. 98~99

24.

1-4. A semantic approach to Lingotto :

tural changes: the growth in communication

restructuring – as a consequence of globalization processes and such demise of large-scale

industrial complexes have given rise to deep changes in the structure of contemporary cit-

ies12. Economic and cultural globalization has

increased the competition among cities and has turned cities into consumer goods to be mar-

keted as brands which need to be advertised. According to this renewed scenario (Chapter 3 will show these tendency from case studies),

many municipalities for instance Liverpool, Bilbao, Essen have chosen urban tourism as a key instrument through which they can ignite urban regeneration moving from Fordism to

post-Fordism, from a production-based society to a cultural consumption-based society (Judd, Fainstein 1999).

As it mentioned above, revolutionary urban

changes are developing according to Master plan in 1995 on the industrial leftover area.

Lingotto and surroundings were developing

through a period of transition of renovation in 1982 and Winter Olyimpic 2006 however did not obtain urban generating effect unfortunately.

Pic 1.4 Headqurater office of Regione Piemonte (2015)

zo Piano, now it is the landmark in Lingotto

On the other hand, well-balanced develop-

Lingotto FIAT had changed by architect Ren-

area (4km away from city center) for local

residents. But considering Ligotto’s historical value and impressive avante-garde building13, it gives a feeling something is missing

because it does not show Lingotto’s remarkable uniqueness14.

‘Spina Centrale’, however its location is quite

far from city center, it should be a travel destination architecturally and historically. For

the reason that the area is not a part of ‘Spina

Centrale’, Lingotto has more potential to be develop and less restriction to be transited.

12. Alexia De Steffani (2011) / A la caste urban policies, mega-events: From exceptionality of ordinary planning practies. A look ar Italy: Case study of the 2006 WInter Olympic Games in Turin Research – Lieuvous atetis science- future of Lithuania 13. Le Corbusier called Lingotto “one of the most impressive sights in industry” 14. Car production started at ground level and as each car reached another stage of completion, it was moved up another floor until it reached the rooftop, hopefully finished, and ready to be raced around the test track on top of the factory.

Source : Architect Massimiliano Fuksas

ment of a city, Ligotto’s change is an indispensable obligation.

Lingotto area 4km far away from historical

city center, was beyond the range of city master plan. But it can be the fifth modern area .

Actually master plan project has a tendency to inclined to north and west parts from central town. Since 2006, Olympic facilities have

not really demonstrated and quarter has not developed economically. But 2015 Piemonte’s Regional headquarter office build-

ing will locates next to Lingotto Fiere which was formal Lingotto Avio area. It would be

the revolutionary change surroundings area.

The hypothesis of polycentric metropolis by Hall and Pain (2006), Lingotto area might be a potential area, has most of elements to be im-

portant quarter and make Torino mega global

.25

COMMERCIAL DEMAND • Consumer expenditure • Commercial (Regione Piemonte) • Projected demands

TOTAL DEMAND • Business industries • Retail industries • Consumer service industries

Figure 1.9 Cultural Quater Potential Analysis Source : Economic Development Review / Spring, 1995

26.

Pic 1.4 Perspective view of Lingotto FIAT

city. Business quarter (Regione Piemonte),

rational Roman town planning. The mainly

: 1km), Sports facilities (Torino Palavela, Sta-

the town’s center blends with the spirituality

Commercial, Museum (Automobile museum dio Olimpico, Palasport Olimpico : 1.5km). So here Lingotto area missed several elements

baroque art of the many places of worship in to be found therein.

Cuture-led regeneration can be a positive sug-

which are Creative and Cultural facilities and

gestion. As explained in the paragraph above,

Polycentric center (Fig. 1.8).

global economy and policy. This decade also

the some entertainment functions to be

City of Torino aims to be a tourist city after

Venezia(Venice) and Firenze(Florence). So to

attract more visitors to Torino what we can

do? And how do you transform an all but exhausted industrial city image?

Torino, a city with the allure of ages past yet

with modern vitality. From Baroque and early

20th industrialized buildings to contemporary buildings are mixed on the city. Italy’s

the 1990s marked the rise of new trends in

saw the increase of new dynamics in urban growth and re-thinking process of urban tools and practices. With these new trends and proliferation of industrial decommissioning, urban regeneration and urban renewal emerged

as a typical strategy of the 1990s marking the

shift from a production-based economy to a consumption- and culture-based one.

Actually Torino is committed to new art be-

first capital offers incomparable vistas in the

cause it has traditionally been “less tied to

boulevards, balanced between the measured

than other Italian cities like Rome, Florence,

town center streets and the long colonnaded sumptuousness of Piemont Baroque and the

an image of the past, or a particular lifestyle,

and Milan.” Indeed there has been a serious

.27

Pic 1.5 Egyptian museum (most visited Museum )

Pic 1.6 Cinema Museum and Mole

museum boom, bringing such new showcases

1-5. Competitive city image : Museum Economy

as the Palazzo Bricherasio, the Museum of Contemporary Applied Arts, and the Parco

d’Arte Vivente. Torino’s most important art

Culture-led regeneration should have strong

fair is still Artissima, which takes place every

impact on the city socioeconomically. Torino,

of the Fiat plant. Judging from a variety of

has tried a more diverse approach. First, it

November in the Lingotto, the former home circumstances, it’s highly likely that Cultureled generation would work on Lingotto. The

objective is the commodification of formal industrial complexes, the modernization and

Italy, home of deflated automobile giant Fiat,

should have attention, second it should be landmark that people can recall when they think of the city.

A recent survey conducted by a national

implementation of infrastructures in order to

polling organisation for the American Asso-

tions. I investigated possibility and potential

ums are among the most trusted institutions

turn quite desolate cities into tourist destinathat might happen to cultural development

(Figure 1.11). Investing Lingotto building as a ‘must visit’ place and invest leftover Olympic

village as a relevant cultural business or art

ciation of Museums in 2001 found that museamong the American people. We can see what Museum’s role has changed last two decades and impacted.

enterprise will thereby link each other plus

• Museum’s change last two decades15

gione Piemonte). Differently functioned cul-

• Economic booms and busts

lead Lingotto as a big cultural quarter and

• Transformation from homogeneous to multi-cultural

‘City Image’ or ‘City Branding’ to promote

• Transition to information-based economies from for-

would be appropriate?

• Two to threefold increase in the number of people

generate with business quarter nearby (Retural clusters interjoin and effect each other

• Changes of government cultural funding policies

will spread out surroundings. More effective

societies

Lingotto and Torino, what kind of challenge

merly industrial or resource based ones

15. LORD Cultural Resources Planning & Management Inc/ Museums and Sustainability: Economy, Culture and Community

28.

with higher educational attainment, especially among women • Dramatic increase in the number of museums • Rise in the total attendance at museums.

There are many cases remarkable Muse-

um give high-economic growth and totally changed city image. For public access and

“social equity.” Still others see evidence of decline in the intellectual level of museums as

a result of catering to commercial interests of

sponsorship and tourism. For example, Span-

ish steel capital of Bilbao pulled it off with one splendid piece of architecture, Frank Gehry’s iconic Guggenheim. In Italy, actually it is out

of industrialized city case but Rome show cultural effect through Museum that strategy

follows the suit of the Centre Pompidou and

Guggenheim in Bilbao (de Magistris 2004). Rome has confirmed its traditional calling for cultural tourism: new facilities, such as Ara

Pacis Museum, the Park of Music and MAXXI Museum of the Arts of the 21st Century have drawn the extensive attention of the mass-

media. Indeed, museums are one of the great

institutional success stories. But as we can see from successful museums, museums did not

succeed for themselves. Notable feature from

not only shopping mall and small gallery. It has possibility to grow more than it has now.

Most visited museums in Torino are Museo

Egizio (Egytian Museum, pic 1.5) and Museo Nazionale del Cinema (Cinema Museum, pic 1.6). Those two have their specialized features and exhibition. So what kind of museum

Torino need? and what is the big potential? It will be demonstrate in the next chapter 3, top

10 Museums in Torino have all different col-

lections. But despite of Torino is in the middle of a contemporary art explosion. Contempo-

rary Museums (e.g. Galleria d’Arte Moderna and Pinacoteca Giovanni e Marella Agnelli)

does not hold their ground. Considering art wave in Torino and Lingotto’s architectural value,

to renovate Lingotto FIAT Factory

(now it is shopping mall and multi- functional building) is rated a investment’s merit high.

Finally Museum carries a lot of cultural clout and rambles over the area as link all interesting cluster.

So this research analyse Lingotto’s potential

to contribute Torino’s economic growth and support city’s aim to be tourist city and do

feasibility analysis to evaluate this hypothesis that museum and cultural quarter .

successful example is architecture.

Lingotto building is well-known for its

unique design. The Lingotto factory featured a unique upward spiral assembly line. As each Fiat was put together it would progress

upwards through the building story by story. And in the end Assembled car arrived to the top of building which is its famous rooftop test

track with two banked turns that consumed more than half killometers portion of rooftop.

Still people visits Lingotto to see spiral ramps and toproof. Steady visitors to see Lingotto building show potential to renovate building

.29

Fig 1.10 Composition of Railway segment per typology Source : Regione Piemonte

30.

Fig 1.11 Road and Transportation Plan of Torino Source : Municipality of Torino (December 2008)

.31

History of Torino 2. The city of Torino

The capital of the Duchy of Savoy The first capital city of unfied Italy The capital city of industrial city

family moved their dynasty’s capital to To-

ly, capital of the Piemonte region Situated in

Il Risorgimento movement and then in 1861,

orino(Turin) is a major city as well as a

business and cultural centre in northern Ita-

the Piemonte region in the north-west of the

country close to the borders of France and

Switzerland (Figure 2). The city is located mainly on the left bank of the Po River surrounded by the Alpine arch. The population

of the city proper is 910,188 (2009) within an 1

area of 130 km while the population of the ur2

ban area is estimated by Eurostat to be 1.7 mil-

lion inhabitants. The Torino metropolitan area is estimated by the OECD to have a population of 2.2 million , a GDP of 55.000 millions 2

of Euros – which is 4.5% of the national GDP.

The city used to be a major European political centre. The dukes of Savoy, Italy’s royal 1. ‘City’ population (i.e. that of the comune or municipality) from demographic balance: ISTAT 2010. 2. OECD. “Competitive Cities in the Global Economy”. Retrieved 30 April 2009

32.

rino in the second half of the 16th century.

The Savoy capital became the centre of the became the capital of the new united nation. With this status came the reorganisation and

expansion of the political and administrative

system of the newly established Kingdom of Italy. Torino was only the capital of Italy for a

short period. In 1865 the capital was moved

to Florence. Since 8 July 1871, the capital has been Rome. The people of Torino were angered when the capital was transferred, but

they soon found a way of moving on from this period of stagnation, creating a new role for

their city: that of leading the modernisation

and transformation of the country’s financial and manufacturing systems. Thus within a few decades Torino became the driving force

of a period of industrialisation, a process that

Figure 2.1. Geography of Torino

required a huge workforce3. Torino reacted to

2008), and Europe’s second largest centre of

industrialisation.

Torino today is one of the best performing

the loss of importance by beginning a rapid

2-1. Economy of Torino Torino is one of the strongest and richest cities of Italy - the seventh- largest economy in the

world and the fourth-largest in Europe (IMF, 3. Città di Torino (2006) / ‘FAR FROM WHERE? Tools and data for mapping the distribution and stratification of the geographical origins of the population of Torino’

manufacturing after Germany.

cities in Italy (see Table 1) and also performs well within the European Union. GDP per capita in Torino Province is over 10% higher

than the national average (€28,800 compared

to €26,000 in 2007) and 23% higher than the European average. The employment rate in Torino Province is 5% higher than the national

average (64% compared to 58.7% in 2007), and

.33

34.

1. FIAT Factory 1923 2. Working people in the factory 3. Strike 1970â&#x20AC;&#x2122;s 4. Wokers heading to factory in the morning

the unemployment rate is 1.4% below the na-

tial Slow Food movement was founded in

performances of Torino Province and the Pie-

100,000 members and a network of 2,000 food

tional average (4.7% compared to 6.1%). The monte Region are very similar, but GDP per capita and unemployment are slightly lower

in Piemonte (€28,600 and 4.2% respectively),

Piemonte in 1986, and today boasts almost communities supporting sustainable production in 150 countries4.

while employment is slightly higher (64.9%).

Torino is one of Italy’s major manufacturing

regions: 24% of the province of Torino’s GVA

2-2. Industrial wave - “the Automotive Capital of Italy”

to 21.76% for Italy as a whole. The automotive

‘Torino is the daughter of two monarchies:

came from manufacturing in 2007, compared

industry is at the core of Torino’s manufactur-

the royal family of the Savoia and FIAT.’

ing might, with almost half of Italy’s automo-

(Mario Calderini, CEO, Finpiemonte)

monte region (101,780 in Piemonte compared

The dominance of the automotive district in

Today Torino’s manufacturing sector has

back to when FIAT was founded.

tive sector employees being located in the Pieto 103,133 in the rest of Italy in 2008).

also diversified towards a variety of other in-

dustries, including food, textiles, design and aeronautics. Torino and its region are home to

a significant number of major Italian brands,

several of which are also renowned internationally, such as Pininfarina and Giugiaro (automotive design), Alenia Aeronautica (aerospace), Lavazza (‘Italy’s favourite coffee’), Martini (the Italian spirit), Ferrero

(the Italian confectioner, whose products include Ferrero Rocher, Kinder and Nutella),

Robe di Kappa (the sportswear brand) and Invicta (outdoor accessories). The influen-

the Torino metropolitan area can be traced In 1899 FIAT was founded and Lancia was founded in 1906. Torino has an illustrious industrial history, having been home to the

production and corporate headquarters of FIAT (Fabbrica Italiana Automobili Torino) since the turn of the 20th century.5 The Fiat

corporation, by 1911, the sector employed about a third of the city’s total manufacturing

workforce.6 By this time, Turin had grown to 430,000 inhabitants.

The first world war surprised a Turin in full de

velopment: it caused first a depression and than an economical recovery, even if the only

sections which found a real advantage in the war ending were the iron and steel and the

,0 00

cally following the outbreak of World War I, 52 86

1960

1975

1990

Figure 2.2 Population of Torino Source : GeoNames geographical database

2001

2004

56 3

3 2008

culminating with the construction of the fa-

1,0

car ones.7 The company expanded dramati-

3 ,86 9, 19

1,0

1,2

2011

4. Ricky Burdett, Andrea Colantonio, Cristina Alaimo, Myfanwy Taylor (2010)/ P.6, Torino reclaming and diversifying local economic strengths 5.Ricky Burdett, Andrea Colantonio, Cristina Alaimo, Myfanwy Taylor (2010)/ P.4, Torino reclaming and diversifying local economic strengths 6. Winkler, A. (2007): Torino: City Report, Centre For Analysis Of Social Exclusion 7. Joe Huxley( September 2010), Turin Meeting the New Crisis With a Proven Package of Responses Case Study

.35

% 12 10 8 6 4 2 0 1993

1994

1995

1996

1997

1998

1999

2000

2001

2002

2003

20042

005

2006

2007

2008

2009

2010

Figure 2.2 Unemployment rate, Province of Torino

Source : ISTAT, Osservatorio Regionale sul Mercato Lavoro, IRES Piemonte

mous avant-garde Lingotto factory complex

almost 1.2 million in 1971. In the 1970s and

Even though much of its political significance

hit the city and its population on began to

in the 1920s.

and importance had been lost by World War II. The automotive sector entered a second wave of growth in the post-World War II

period, heralding the beginning of a highly

prosperous period for Torino. The city was rapidly rebuilt and its industrial base saw a

huge development throughout the 1950s and 1960s, which attracted hundred of thousands of immigrants, particularly from the southern

regions of Italy. Torino became a major European crossroad for industry, commerce and

trade, and currently is one of Italy’s main industrial centres, being part of the famous “in-

dustrial triangle”, along with Milano(Milan) and Genova(Genoa). Torino is ranked third in Italy, after Rome and Milan, for economic strength. By the mid-1970s, Torino was a

thriving industrial centre and one of Europe’s strongest automotive districts, competing

with the German cities of Munich (home to BMW), Stuttgart (Daimler Benz) and Volksberg (Volkswagen), and the French towns of

1980s, the automotive industry crisis severely

sharply decline, losing more than one-fourth of its total in 30 years. In the mid-1960s, Torino and the surrounding Piemonte region

employed 149,000 workers in the automotive

and related sector, comparable to the automo-

tive sector in the U.S. city of Detroit, which employed some 158,000 people in 2005 (Detroiter, January 1 2007) and significantly larger than Cleveland’s car manufacturing sector,

which employed 37,383 people at its peak in 1963 (Darwin, 1997)8. By the late 1960s, Fiat

produced 95% of all Italian cars and between

1951 and 1971, it “more than doubled its industrial workforce in its Torino plants from

47,700 to 115,000, took on an additional 30,000

white-collar workers, and contracted a vast array of smaller firms to provide it with services and supplies.”9 By the mid-1970s, Fiat

had become such a dominant force in the city that Turin was the model of a “one company” manufacturing city.

Boulogne-Billancourt in the Parisian metro

area (Renault) and the Sochaux-Montbeliard agglomeration (Peugeot). The popula-

tion reached 1 million in 1960 and peaked at

36.

8. Ricky Burdett, Andrea Colantonio, Cristina Alaimo, Myfanwy Taylor (2010)/ P.4-6, Torino reclaming and diversifying local economic strengths 9. Winkler, A. (2007): Torino: City Report, Centre For Analysis Of Social Exclusion

2-3. Confronting the crisis of ‘FORDISM’ by Economy Crisis Torino’s present-day success and rich history mask the intense crisis it faced just two decades ago. Until 1980, Torino’s economy is still strongly linked

to the car and car components industries. Torino had developed by mass production of big

industry what is commonly called ‘fordism10’.

We can call these kind of cities ‘Fordist city’ which were developed by Fordism. But As

mass production were the most important is-

sues in Fordism made city grows faster, also made city declined fast.

The oil crisis of the mid-1970s brought To-

rino’s economic and demographic growth to

a standstill. Throughout the 1970s, social and

In 1980, Fiat cut 23 000 jobs from its plants.

This kick-started a decade of manufacturing job losses across the Province. Between 1980 and 1990, around 100 000 industrial jobs

were lost, the majority of which were located

within the city of Turin itself 11. From a peak

of 158 000 employees in 1968-1969, by 1996,

the number of Fiat employees had declined to 47,00012. FIAT production in Torino reduced

from 60% in 1990 to 30% in 2002. These decades represented not just a crisis for FIAT, but

a crisis for Torino. Moreover FIAT underwent further crises in the early 1990s and again in

the early 2000s, in common with many automotive firms in industrialised countries dur-

ing this time. By the early 1990s, Torino was in crisis.

As well as high unemployment, which had

economic forces began to build pressure on

risen to nearly 13%, the city was also suffer-

of the 1973 global oil shock, overseas compe-

as an acute image crisis. WIth the wise of the

the Turin automobile sector. A combination

tition, inflation, out-dated modes of produc-

tion and Turin’s highly unionised workforce

caused the automobile sector to collapse. These causes led Fiat to shift production out

of Torino into new factories in southern Italy. With a negative impact on the local manufac-

turing-based economy, as the price of raw materials increased, the workforce became

increasingly unionised, and national financial incentives made the southern Italian regions a more attractive investment prospect. So main

company ‘FIAT of this Fordist city, Torino decentralised its local production processes outside Torino, as did many other Fordist cities ( for instance, Detroit and Einthoven).

10. Fordism: Named after Henry Ford, is a modern economic and social system based on industrial mass production. The concept is used in various social theories about production and related socio-economic phenomena.It has varying but related meanings in different fields, as well as for Marxist and non-Marxist scholars. In a Fordist system the worker is paid relatively high wages in order to buy in large quantity the products turned out in mass production.

ing from social and political upheaval, as well

service sector, the share of industry in To-

rino’s economy has decresed from more than 60% in 1971 to less than 40% in 2002. In 2005,

the share of indstry in the active populationwas 34,4%. As a result, Turin was forced into

a “process of deliberation about its identity,

new directions of growth, and a vision for the future.” 13

The Fordist industry has been re-dimen-

sioned. The local system has had to deal with a major economic and identity crisis and needs to find new ways to develop the region and to restructure Torino’s role on the national and

international level. Still the industrial sector 11. Winkler, A. (2007): Torino: City Report, Centre For Analysis Of Social Exclusion 12. Winkler, A. (2007): Torino: City Report, Centre For Analysis Of Social Exclusion -13. Alexander H. J. Otgaar, Leo Van Den Berg, Christian Berger and Rachel Xiang Feng (2010) / Industrial tourism: opportunities for city and enterprise P. 121/ EURICUR Series (European Institute for Comparative Urban Research)

.37

remains the backbone of the Torino economy. The share of industry , however, still higher

2-4. Reaction of city against Crisis: Urban Regeneration

ies. But the automotive sector is no longer the

â&#x20AC;&#x2DC;The crisis of FIAT was both a problem and an

than in many other Italian and European cit-

only key sector in Piemonte. Now the city has mre diversified economic structure : Aero-

primarily as an opportunity.â&#x20AC;&#x2122;

space, ICT, life sciences and biotechnology,

Deputy Mayor for the Environment, City of Torino

renewable energy, artistic handcraft, home

For long terms of crisis reduced cityâ&#x20AC;&#x2122;s popu-

food and the movie industry .

there were left huge industralized waste-

logistics, nanotechnology, environment and textile, contemporary art, writing tools, agro14

14. Invest in Torino Piemonte, 2008/ Chamber of Commerce for the Turin Province

38.

opportunity for Torino. The city looked at it

lation and after people moved out of Torino,

lands. In the mid-nineties Torino started to

civic buildings, much closer management of urban environments, and a mixed approach

to funding involving all levels of government,

â&#x20AC;˘ Urban Plan : Spina Transformation (1995) The crisis of Fordism which left more than six million square meters of dismissed industrial

areas, imposed to re-consider not only the

city identity, after being a factory-city during all the twentieth century but also to re-think

about the large urban emptiness left which

could be transformed. As early in 1993, the major urban project of Torino, called Spina Centrale, has planed as strategy of develop-

ment of the city to make this more attractive region. Central objective of Spina centrale was

to renew the image of the city more attractive by turning to the future, rewarding its prosperity of the past.

The PRG of Torino (adopted at the end of 1993

and approved by the region in 1995) involvcope with the issues of urban redevelopment and urban regeneration, implementing in the last ten to fifteen years a set of policies, tools

and processes in the framework of two key

factors either exogenous and endogenous affecting the transformation of the city.

Some time in the early 1980s, a rising awareness of a connection between aspects of the urban cultural environment and local economic

development began to make its appearance.15 A new sense of direction emerged based on a

new service economy with high-tech knowl-

edge-based enterprises, building on the great engineering and inventive skills of the manu-

facturing era. Cities developed a pattern book of recovery that relied on physical restoration,

the upgrading of monumental industrial and 15. ALLEN J. SCOTT (2004)/ URBAN AFFAIRS REVIEW, Vol. 39, No. 4, March, ÂŠ 2004 Sage Publications

ing disused areas at the centre of its policy of transformation also offers opportunities to invest in the sector of real estate. It fills 2.5 million m2. The project part of the intention to

bring together the two parts of the city sepa-

rated by rail ways, in North-South direction, by lowering the level of the railway and by

building stations of the city, including two new.

This plan, developed by architects Gregotti Cagnardi (from 1983 to 1993), based on where

the real estate market was still signs of vitality.

The theme were modernization of the city in a situation of decline as industrial and urban. â&#x20AC;˘ The First Strategic Plan (2000) Torino was the first city in Italy to adopt a Strategic Plan for the vision for the future. Pi-

.39

â&#x20AC;˘ Torino transformation by Spina Centrale Pic 1. Stone Igloo Mario Merz, Spina 1 Pic 2. Nine-metre-wide tree-lined sidewalks., Spina 2 Pic 3. Chiesa del Santo Volto, by Mario Botta, Spina 4 Pic 4. Market of Porta Palazzo, Spina 3 Pic 5. Politecnico di Torino, Spina 2 Pic 6. Porta Susa new station, Spina 2

40.

Pic 7. Milafiori

Stura

Vitali area SPINA 4 SPINA 3 Dora

Porta Susa SPINA 2 Porta Nuova

Mirafiori

SPINA 1 Zappata

Politecnico

Lingotto

Municipal boundary Spina Centrale Redevelopment area 1km

Area size ( mq ) SPINA 1

(Industrial wastes Land)

Politecnico di Torino

164,000 mq

70,000 mq

(Formerly occupied by railway)

SPINA 2

(Train Station Historical Area)

SPINA 3

(Formal Ironworks Area)

Figure 2.3 Torino Master Plan 2000

Project - Housing complexes - Multipurpose building - Shopping center (30,000 mq) - New urban square by Jean Nouvel. - Between Spina 1 and Porta Susa - Two new buildings of the Politecnico di Torino - Educational Infra structure

Total 340,000 mq Porta Susa (42.000 mq) Train station (6000 mq)

Total 1,200,000 mq Urban Park (45.000 mq)

- new business complex, - Urban Environmental Park - Residences completed in 2006 - Multi-Media park, New station Dora.

SPINA 4

1,200,000 mq

- New station Rebaudengo the project - Transfoming innovative companies

Mirafiori

3,000,000 mq

- FIAT restruction - Design centers of research and training center .

(Industrial Sector)

(Formal FIAT Facories )

.41

ano Strategico, 2000-2010 which formlates 20

projects, including a major six-lane roadway

lines (city of Torino, 2000).

and cultural buildings, as well as an ambi-

objectives and 84 actions, catergorized in six

with bicycle paths and commercial, corporate tious program of public art. In their own way,

these uses sum up the new city even as they <The vision> : - Torino as a European metropolis - Torino, an ingenious city which gets things done and does it right

help make it possible. They are both form and

content. 80% of urban areas in Torino included in the Objective 2 of the European Structural Funds.

- Torino which knows how to choose its development path: the intelligence of the future and the quality of life

The core idea being, at that time, that the ur-

ban development plan was an instrument for <6 Strategic Lines> : - To integrate the metropolitan area in the international system - To construct the metropolitan government - To develop training and research - To promote enterprises growth and employment - To promote culture, tourism, commerce, sports - To improve urban quality

managing and transforming the city: new districts and new urban centralities were created, such as the transformations of the “Back-

bones” of the city and the re-use of a massive number of large dismissed industrial sites. An

integrated economic development document, which sets collaboratively-determined objectives relating to the future of a city’s economy to be implemented by 2011.

The strategy is based on a vision that present Torino as a European metropolis that is ready

2-5 Torino Strategy for Tourism

plan has been developed in consultataion

Torino has discovered tourism as a growth

dationsm and other relevant stakeholders

for the job losses in the manufaturing indus-

to compete in the knowledge economy. The with universities, industries, bankingm founsuch as the general public meetings.

Spina Centrale (Central Spine) comes closest to embodying the image and substance of the new city. Extending 12 kilometres on a north-

south axis, the two-million-square-metre strip of land – roughly the size of 400 football

fields – once sliced the city in half. Until recently, this was railway land. The tracks now

run through a subterranean tunnel, and Porta Susa, the new central railway and subway station, will also be underground.

Above ground, the Spina comprises a series of

42.

cluster that has the potential to compensate try. A special regional law (law 18) was vreat-

ed in 1999 to provide public funds for private investments in the tourism industry. Many

inverstment in tourism in the last decade can ne related to the strategy plan especially woth six lines (city of Torino, 2000).

One of the six strategic lines is to promote Torino as a city of culture, tourism, commerce

and sport. Another is to promote enterprise

and employment. with the loss of jobs in industry, more and mre attention os being paid

to the development of other sector, tourism being of them.

• The Strategic Plan 2 (2005)

quality of society, cultural potential, economic

In July 2006, first Strategic Plan document

sal, theme can be added, concerning the vi-

was updated in order to respond to a socio-

economic context that had changed even further, creating new necessities and different growth objectives.

According to the “2nd Strategic Plan for a

knowledge Society”, the keystone for completing this transformation is investment in

human resources and innovation, and valori-

zation of the patrimony of local competences in order to adapt them to the new global con-

text, hinges upon the idea of a Knowledge Economy.

Work on the preparation of the 2nd Strategic

Plan began in January 2005, and was coor-

dinated by thematic commissions entrusted with the duty of exploring scenarios, objectives and possibilities. The commissions met

in plenary sessions and in small groups, experimented forms for involving the citizens, promoted conventions and organized political

and institutional encounters. They explained the planning process through publications and mass communications. As in 2000, the planning process involved over 1,000 people.

The 2nd Strategic Plan is separated into four thematic areas - the metropolitan territory, the

development - to which a fifth, more transversion of the Plan. These areas are divided into twelve project directions involving important

topics upon which the territory’s development is based. Each direction is articulated in a variable number of objectives - for a total of

fifty-four - which focus on various aspects of the projects proposed by the Strategic Plan in

a certain area or sector. Even though each ob-

jective springs from a specific thematic area, it produces effects and has an influence on

(or is in turn influenced by) other objectives of neighboring thematic areas, thus creating a web of virtuous relations that are an essential condition for achieving the original objective.

The thematic areas as a whole, from the axes

to the objectives, indicate a spectrum of potential opportunities and projects for the territory. These opportunities and projects, for

which the Association has initiated a selection process, present a few recurrent characteristics: their level of development; their rel-

evance, which is shared by all the participants of the territory; their economic sustainability;

their interdisciplinary nature; their ability to introduce innovative methods and instruments.

Figure 2.4 Olympic Impact on Tourism

Source : Turismo Torino

Cost

.43

• Urban plan for Olympic Games Barcelona,1992 Before the Barcelona Olympics in 1992, the Port Vell, the city’s old obsolete harbour was a run down area with empty warehouses, industrial buildings, refuse dumps and railroad yards. In one of the most drastic urban renewal projects, the area was transformed into a yacht basin and entertainment centre, opening the city up to the sea. A coastal road was moved underground, and a pedestrian street now stretches from the Columbus monument to the suburban area of Barcelona. At almost 105%, Barcelona’s growth stands out as spectacular in comparison with its direct competitors ; growth in Prague fell off over the last two years of the period in question although overall growth for the full decade was 75%; Berlin followed with 57% and Amsterdam and Madrid were next at just over 30%

Figure 2.5 The number of overnight stay in Barcelona

Figure 2.6 Europe’s leading cities growth of overnight stays (1990-2000)

44.

• International Event - City Branding - Winter Olympic Game (2006) - The World Book city (2006) - The World Design Capital City (2008) - The world Convention of Architects in 2008 (2008) - Smart City (2011)

also stressed out the strategic importance of

the historical urban elite: above all the Fiat group and the Agnelli family played a stra-

tegic role both in winning the competition for the Games, the management process and in

selection of areas on which the Games facilities were to be placed.16

In 1996, Torino was nominted for the win- The international “Slone del Gusto” - The Torino Film Festival - The international Book Fair - The Biennale of Emerging Artist

ter 2006 Olympic Games. It is a first bet won

by playing the international map: Torino becomes Olympic city with the significant benefits positive. In addition to those planned opportunity, equipment and the infrastructure

needed to complete for the big project. Olym-

2-6. Winter Olympic 2006 Impact

pic city should offer attractiveness.

The Winter Olympic 2006 have used the city Over the past ten years, Italy tried to acquire

new economic resources by hosting great events.

Italian municipalities (mainly of mature industrial cities) have showed their skills in using mega-events as an engine for previously

started projects. They have begun to draw up new urban policies starting from the ephem-

to relise many of these objectives, but notably to improve accessibility (another strategic

line), to diversify the economy and to promote the city as a tourist destination and business location (Van den Berg et al. 2002). one of

the objectivess is to position the destination of

Torino and the Piemonte region in the international tourism market.

The Olympic game as excuse - being inspired

eral occasion offered by temporary events.

by the Barcelona 1992 strategy - Torino and

2004). In more recent years, other studies have

development.

According to these advertences (de Magistris been conducted within “Cultural Studies” and “Design Studies”. This research is more

interested in the design processes related to

Piemonte have invested heavily in tourism Barcelona’s strategy used the Olympics as a

carrot, the city was able to pull in the needNumber of Presence

mega-events and it often focuses on a singular

Year

Optimistic Forecast

Realistic Forecast

Negative Forecast

demise of industrial complexes, several mu-

2001

1,632,759

2006

2,468,575

2,227,844

2,468,575

2011

3,633,096

3,042,885

2,593,725

event. For this reason, facing the large-scale nicipalities started rethinking their ancient

urban image and identity through bidding for mega events.

The 2006 Winter Olympic Games has mainly

accelerated processes already started and acted as a catalyst for continuation of previous policies and urban projects. The Games have

Table 1.2 Forecast of arrivals at hotel, 2002-2011 (based on the number of rooms in 2001) Source : THR and turismo Torino (2001)

16. Alexia De Steffani (2011) / Case study of the 2006 inter olympic games in Turin

.45

2 1, 8 1, 6 1, 4 1, 2 1 0, 8 2001

2002

2003

2004

2005

ITALY

2006

2007

2009

2010

2011

PIEMONTE

Fig 2.7 Presence of Tourists (%)

Source : THR and turismo Torino (2001)

ed money and interest. Projects got off the

objectives for Games and Tourism to pro-

La Rambla, Universal Forum of Cultures, Port

awareness, attracting the widest audience

ground and the area was ready for the games. Vell, 22 @Barcelona, Diagonal Mar, Santa Caterina market were transformed for olympic

mote the city as to create internal support and and the support of the tourist sector.

games, address the urban culture as a driving

An event that not only showcased Torino to

urban planning and cultural developments. It

investment into the cityâ&#x20AC;&#x2122;s infrastructure plat-

force behind change and a generator of social, has contributed to a new cultural landmark and tourist itinerary in a re-emerging area

even after Olympic Games. The immediate impact on tourism of such an event, Barcelona greatly boosted its image in the process of hosting the games. As with any Olympics, the

city was put on display to the world. The city,

of course, also hoped for another spectacular boost to tourism. 1990-2001 period shows that the number of overnight stays rose by 110%

and the number of visitors by 95%. Figures show the impact of toursm strategy of Brcelona more specifically.

After the success of the

1992 Olympics in getting urban renewal kickstarted, it became clear to Barcelona that host-

ing a mega-event is an ideal opportunity to make positive change to its urban landscape.

As Barcelonaâ&#x20AC;&#x2122;s success, Torino announced 17. BARCELONA : Event as catalyst / http://urbanwaterfront.blogspot.it

46.

2008

the world, but which also saw $ 1.02 billion form18. A master plan adopted over a dec-

ade ago, Italyâ&#x20AC;&#x2122;s motor city is remaking itself by redeveloping the railway lands bisecting

the city and the industrial sites that grew up alongside them. A new strong urban centrality (Spina Centrale) running from the North southwards cutting the city into two halves

was planned by Gregotti, Cagnardi and Cerri and Torino started to newly generated. This challenge postioned the city in the city-break tourist circuit, and MICE19 market. This Event

created model for tourist management in It-

aly. So after Olympic games which is the one

of the biggest issue of Torino in 21th century makes a city has historical and modern features together.

However, after Olympic Games, Torino did 18. Clark, Getal (2010): The Urban Investment Opportunities of Global Events, Urban Land Institute 19. Meetings, Incentives, Conferences, Exhibitions

not obtain advertising effect compared to

for the next generation Torino accelerates to

cilities left empty(olympic village). Moreover

Despite that Olympic Games took place an

Barcelona, and then consequentially some fanumber of foreign tourist declined continuously.

According to European Cities Tourism (2007)

and Bednight in the city of Torino increased

with approximately 50% between 2000 and 2005, indicating that the Olympics already

paid off before the event had taken place. But for reference ‘Turin’s Tourist strategy for the

2006 Winter Olympics’ written 2001, Torino

forecasted toursit growth 1,014,295 till 2011. Unfortunately 2011 index shows number of

tourists who stay in hotel were 2.7 - 2.8 milion which were lower than they expected realistic forecast (Table 2.7). According to the latest survey of Touring Club, who refers to data dell’Atl, last year - with the Exposition of the

Shroud - visitors of overnight stays were 1.96 million and 5.7 million.

This figure prove lack of atractiveness in To-

rino. A capital invested for Olympics did not attain its ideal and effectiveness as it was expected. To use Barcelona’s city branding tech-

nique, they still use most of olympic facilites as a festival or concert place and continuously

invest creative design and architecture so to make people enthuse unique atmosphere in Barcelona. Especially their formal Olympic area stilmulate urban vibrancy. Barcelona’s

consistant effort of city making and image

achieve global tourist city.

image problem in the international market. Most people had no image of the city whatsover, while the remaining minority mainly

associated the city with FIAT and the manufactoring industry, the image fo the city being ‘still very much tied to its industrial past’

(City of Torino, 2000, p.99). And it’s far from over. One quickly realizes that it’s as much about altering perceptions, emotions and

mindsets as about revitalizing the economy and the public realm.

Two cations to create and expand the Torino

and metropolitan area product into the na-

tional and internatioanl tourist market; and to create a ‘committe’to spread the wine and food culture of both the city and region into a national and international area.

On the demand side several sources confirm that Torino and the Piemonte region have

been successful in attracting tourist. Named World Design Capital in 2008, Torino – the

first city to be so designated – has mounted an impressive program of exhibits, conferences,

festivals, and so on that celebrate the city as a centre of art and architecture, shedding forever its image as a factory town.

Torino has reemerged as Italy’s foremost center of contemporary art, design and publishing.

making is what Torino should learn from.

Next chapter suggests new wave of Tourism

failed. In fact, Torino has steadily growing

and possibility to promote Torino city.

It is not completly deny Torino’s strategy has

and developing. Especially italian visitors fig-

economy in Torino city and looks for potential

ure had raised higher than2006. Torino is still one of the richest city in Italy but city needs more progressive marketing or urban development or image making to support strategy

.47

Torino Art and cultural routes

Today Turin and its surroundings present the visitors and tourists with more than fifty attractions including museums, cultural heritage, castles, residences and exhibition centres which, as a whole, represent an international cultural offer. This short guided-tour has the purpose to describe Turin museums to both its inhabitants and visitors, showing the historical and cultural aspects of the city through the discovery of the hints and places which help us to know our past, look into our present and wonder about our future. Since many of them are located in the city center, you may walk to visit them. However you can take a bus to reach the surroundings of Turin and see the Royal Residences, as well as some other recent opening museums.

Source : http://www.comune.torino.it/musei http://www.comune.torino.it/musei/en/percorsi http://maps.google.it/

48.

.49

Culture & New Economy

50.

3. Toruist City and City Branding

ban images. In some countries, indeed, the

line No. 5 (STRATEGIC LINE 5. : Promote

ment. This turn of events is actually one facet

ity of Torino has the plan to make a city

as a tourist city for their new economy, and Torino as a city of culture, tourism,commerce and sport (The strategic plan of Torino 2000-

2010) defined 7 objectives 26 actions to promote Torino’s plan.

Over the past decade or so, the industrial profile of many countries has tilted perceptibly

in the direction of a new creative or cultural economy. This ideas and stereotypes of culture and creativity to promote attractive ur-

cultural economy is now one of the major

frontiers of expansion of output and employof the wider resurgence of a so-called new

economy generally in contemporary capitalism, where by the term “new economy”1.

In this chapter, I examine heritage and poten-

tial to attract tourist in to the city of Torino and the way to regenerate the city with cul-

tural activities and spaces through other case studies.

1. ALLEN J. SCOTT / CULTURAL-PRODUCTS INDUSTRIES AND URBAN ECONOMIC DEVELOPMENT Prospects for Growth and Market Contestation in Global Context

.51

3-1. Change towards Tourist city

and they spend significant amounts of money during their stay. They do not demand the so-

3-1-1. Cultural Attractiveness in Torino Some European cities have utilized culture,

such as museums, galleries, and festivals as a development tool. This has certain apparent

spread the word about the city appeal ti others. In this way, visitors can help the city sell itself as an attractive place to live and work2.

advantages.

Torino, a city with the allure of ages past yet

city has proved to be so appealing. It has been

20th industrialized buildings to contempo-

It’s not hard to understand why the tourist especially attractive in the postindustrial era

because it does not require a city to convince people to move to the city to live. A city has to

entice temporary visitors, and they can be directed to those parts of the city in which the evidence of the postwar urban crisis can largely be kept from view. Tourist city is influential in prosperous cities as well. Along with embrace of the global city, it provides a familiar way to

promote and sustain the local economy. Culture can attract visitors, especially from more affluent classes. Tourists come for short time,

52.

cial services that residents need, and they can

with modern vitality. From Baroque and early

rary buildings are mixed on the city. Italy’s

first capital offers incomparable vistas in the

town centre streets and the long colonnaded boulevards, balanced between the measured sumptuousness of Piedmont Baroque and the

rational Roman town planning. The mainly

baroque art of the many places of worship in the town’s centre blends with the spirituality

to be found therein: the Sanctuary of the Consulate and the Sanctuary of Maria Ausiliatrice are a couple of Turin’s best loved churches. 2. Gerald E. Frug and David J. Barron. (2008)/ City bound : how states stifle urban innovation / New York ; London : Cornell University

Fig 3.1 Number of tourists visiting the Province of Torino 2003-2009 Source : Torino Congiuntura, 2010. 2000 in thousands

National Foreign

1500

ordinary clichés of tourist movements.

3-1-2. Torino as a Tourist city Torino has flourished in its history. It was the

capital of the Duchy of Savoy in 1562 and the

Kingdom of Piedmont, then capital of the

1000

Kingdom of Italy (1861 to 1864) and, more re-

cently, industrial capital(FIAT). Some time in

500

the early 1980s, a rising awareness of a con2003

2004

2005

2006

2007

2008

2009

It allures by welcoming visitors to the aristo-

cratic and imposing spaces of Piazza Castello. City’s historical centre has the museums and foundations that reconstruct its history and

reveal its artistic and cultural treasures. This

includes Europe’s largest collection of archae-

ological finds at the Egyptian Museum, or the more recent history of the ‘seventh art’ brilliantly presented at the National Museum of

Cinema, the exceptional treasure of ancient art held in Palazzo Madama, and then of course,

Palazzo Reale, the powerhouse behind Italy’s

very first capital. Torino is also a vital point of reference for contemporary art: works and installations produced over the last thirty years

by internationally famous artists are placed

for all to see in the open air or on display at the country’s most important Museum of Contemporary Art within the 17th century Castle of Rivoli.

Owing to 2006 winter Olympic, The city made new infrastructure, so Torino offers one of the most exclusive alternative transport systems in Italy, some parts of which are even unique in the world, while other are the authentic

classics of this city. From the lift in the Mole

Antonelliana to the boats on the River Po, the open-top tourist bus and the Sassi-Superga rack-tramway, all visitors are given inspiring hints for a creative and original trip out of the

nection between aspects of the urban cultural

environment and local economic development began to make its appearance.3

And then the new wave of contemporary,

modern art in Torino lead new event and

festival of new culture. The tourism bonanza draws inward investments and increases taxations, which can be used to improve infrastructures and amenities.4 From accommodation, catering, transportation to retailing, jobs

are created and the service-oriented industries grow. Trades directly related to the cultural in-

stitution (galleries, music companies, creative industry sector, film houses, etc.) Also tend to benefit and draw customers from the visitors. Hot on the trail of cultural lovers are property

developers. With the completion of the neighbourhood/city image reconfiguration.

A carefully-orchestrated culture-led regeneration policy can indeed revitalize the community economically, environmentally, socially

and culturally (Brand et al., Evans & Shaw, 2004). It must be emphasized that this improvement strategy is by no means a guaran-

tee of a commercially-promising future, and many attempts to replicate the method have

flopped, but plenty more enticed by the reincarnation vision are currently pursuing it with great enthusiasm (Evans, 2001).

3. ALLEN J. SCOTT (2004)/ University of California, Los Angeles, URBAN AFFAIRS REVIEW, Vol. 39, No. 4, March, © 2004 Sage Publications 4. Patricia Huang(2005)/ Culture-led Regeneration , Where Art, Architecture, and Landscape Meet

.53

3-2. City Branding and Image, Marketing The successful cities as like New York, Paris had the qualities that strong brands do, and

marketed their history, quality of place, lifestyle, culture, diversity, and formed coopera-

tive partnerships between city municipalities and government in order to enhance their infrastructure. They were proactive in their approach.5

The city of Torino has had major ambitions to

become a European cultural capital. It was not

place-branding strategies today often stress

ideas and stereotypes of culture and creativity to promote attractive urban images. City

branding is suggested as the appropriate way to describe and implement city marketing. City marketing application is largely de-

pendent on the construction, communication

and management of the city’s image, as it is accepted that encounters with the city take place through perceptions and images.8

One of the basic elements of this ‘new type of

only a change of image, but also to improve

marketing’ is the determination of the major

the region Piemonte6. Torino, a city rebuild-

tegic marketing plan should incorporate. The

the overall economic situation of the city and ing a new image for itself in opposition to the

old one centered on its automotive industrial past, but a certain “Fordist culture” (or antiFordist) is still “in the air” in the field of the

promotional and cultural policies of the city.7 There’s no better example than Torino, north-

ern Italy’s former industrial powerhouse, which is now remaking itself. The city need

of re-brand against non-specific and lacked awareness.

While the marketing of urban places has been practised, at least, since the 19th century (Ward, 1998), cities increasingly tended

to rely on marketing methods in the last three decades, when ‘competition for inward investment, tourism revenues and residents at various spatial scales intensified’ (Kotler et al., 1999).

Urban branding materials and policies, is re-

ally sketching the image of a creative city in its attempt to escape its traditional image of

5. Julia Winfield-Pfefferkorn (2005)/ Master thesis - THE BRANDING OF CITIES / Graduate School of Syracuse University 6. Patricia Huang(2005)/ Culture-led Regeneration , Where Art, Architecture, and Landscape Meet 7. Alberto Vanolo (2008)/ The image of the creative city: Some reflections on urban branding in Turin/ Cities Volume 25, Issue 6, December 2008, P. 370-382

54.

a “one company town”. City-marketing and

action areas that the implementation of a straintention is to create a mix of components that need to be managed and orchestrated, and in

this way ‘not only delineate the domain (by

articulating its key elements), but also provide a basis in which the area may be operationalised’ (Balmer, 2002).

Firat and Venkatesh (1993: 246) consider that

in postmodernity ‘marketing is the conscious and planned practice of signification and

representation’. 2006 Olympic Game was an

way from this concept, the transition got a huge kick-start when the city landed the 2006 Olympic Winter Games, but it hasn’t always been easy. And it’s far from over.

One quickly realizes that it’s as much about

altering perceptions, emotions and mindsets as about revitalizing the economy and the

public realm. Named World Design Capital in

2008, Torino – the first city to be so designated – has mounted an impressive program of exhibits, conferences, festivals, and so on that

celebrate the city as a centre of art and architecture, shedding forever its image as a fac-

tory town. Torino hope They hoped the new 8. Michalis Kavaratzis(2004) / From city marketing to city branding: Towards a theoretical framework for developing city brands

Figure 3.2 Urban Regeneration and Re-imaging Source : http://geographyfieldwork.com/UrbanRebranding.htm

Figure 3.3 Urban Rebranding: the reinvention of city places

revive a pre-existing but outdated place image

help create pride in your city

highlight changes in the character or the activities of an area

change a poor pre-existing place image

associate a place with an international event

promotion of the urban area as a product

to attract new investment, shops, tourists and residents

.55

venture would further the cause of cultural trourism development.

City marketing and the development of city

brands is now more important tools to pomote. But what does city marketing really mean? And what is city branding?

3-2-1. City marketing - more than just promoting a city9 Pic 3.1 World Design Capital in Torino, 2008

This idea stems from the tendency to lump

marketing together with sales and publicity. The sales approach consists of thinking that consumers have to buy your product and that

they will if you can lower their resistance us-

ing publicity and sales teams, employing dark forces to break their will so they buy something they neither need nor want. Hence, they

leave the supermarket with things they didnâ&#x20AC;&#x2122;t want to buy, or, lulled into a hypnotic state

by TV sales channels, they end up with a de-

vice to tauten stomach muscles that they will

never use. And donâ&#x20AC;&#x2122;t forget the salespersons who palm people off with something they really do not need. That is not marketing. Marketing does not consist of selling your product at all costs, but rather in placing clients at

the centre of your competitive strategy, to the point that you are not targeting a global mar-

ket indiscriminately, but rather segments with different needs, using ad hoc marketing strat-

egies. The problem is that mistakes are often repeated. City officials have decided that city

marketing consists of promoting their cities, which in turn means producing videos, brochures and websites, because they are convinced that constitutes the core activity of city

City marketing, instead of being an urban

management philosophy, has ended up being

used for decorative purposes rather than fulfilling its inherent potential.

The image of a city, in the sense of the gen-

eral meaning and idea of a place, is formed not only by visual images, but also by many

other elements. The main reason for this rapid expansion is the improvement in transport and communication infrastructures and the

development of communication technologies. This improvement and development has resulted in greater competition among territo-

ries (states, regions, and, of course, cities) in terms of investment, tourists and residents.

This growing interterritorial Gildo Seisdedos, State of the Art of City Marketing in European Cities, 42nd IsoCaRP Congress 2006.

Competition has produced a market of cities, which in turn means that cities are now con-

sidered in much the same way as a business organisation in their fight against other cities in the market. Hence they are using busi-

ness management tools to design a successful strategy, including the marketing plan, which is the demand-oriented tool par excellence.

marketing.

9. Gildo Seisdedos,(2006)/ State of the Art of City Marketing in European Cities

56.

3-2-2. From city marketing to city branding: the city marketing mix

City-marketing ideas and culture and creativity to

neurial model of city governance. As goals of

brands, must be functional. To both, function-

and the transformation of previously produc-

promote attractive urban images. Cities, like ality means observable benefits. A city must function as a destination for employment,

industry, housing, public transportation, and recreational attractions10.

Marketing takes us onto branding given that

marketing is a planned exercise designed to manage how a city is represented and the

associations it evokes, and that marketing works with perception rather than reality, although it is true that these two concepts are

very difficult to distinguish. This is the action

plan what Torino municipality had for the development and promote tourist potentials.

A brand image generates a unique set of ideas, feelings and attitudes in people. To remain

competitive, large companies sometimes alter

this model they identify re-imaging localities tive cities into spectacular cities of (and for)

consumption. The achievement of these goals is pursued according to the same authors through specific policies, which include: - advertising and promotion - large-scale physical redevelopment - public art and civic statuary - mega-events - cultural regeneration - public–private partnerships.

Torino 2000 plan completed it’s objective and marketing strategy following those steps. • Cultural Resources in Torino

or completely replace their images and re-

(Torino Strategic Plan 2000)

Similarly, competition between urban places

1. OBJECTIVES

launch themselves as fresh corporate brands.

to attract new investment, tourists and residents has led many areas to establish com-

pletely new brand identities. International events are often used by urban areas to create

a new place image and act as a catalyst or process for fresh development and change.

Rebranding can also address the issue of

‘MacDonaldisation’11 common in tourist

- Valorize the cultural institutions in order to promote a knowledge-based society - Improve the accessibility of the cultural offering - Promote culture as a factor for urban and territorial transformation - Stimulate private citizens’ involvement in the politics and resources of culture - Valorize culture as an instrument of attraction and

destinations, and help differentiate an area

internationalization

place as a product will be enhanced, giving

2. OPPORTUNITIES AND PROJECTS

from other places. The promotion of an urban

it a substantial competitive edge. Hubbard and Hall (1998) describe a generic entrepre-

- Savoy Residences - Central Museum District - Po Axis

10. Julia Winfield-Pfefferkorn (2005)/ Master thesis - THE BRANDING OF CITIES (Graduate School of Syracuse University) 11. Tourism has tended to cause uniform growth of cities, with the objective of making the tourist experience as similar as possible to what the tourists are accustomed to. Consequently, tourist destinations become indistinguishable and lose their richness, minimising their unique cultural features. Faced with the ‘MacDonaldisation’, emphasis should be placed on the heritage (social, cultural and natural) of the cities, and such heritage should be the object of tourist attention.

- Restructuring of the Egyptian Museum - Private investments in culture

Then what can be the new innovative change for the next generation? The movement of

.57

persons to cultural attractions in cities in

promotion involves the reevaluation and re-

residence, with the intention to gather new

new image for the localities to enhance their

countries other than their normal place of

information and experiences to satisfy their

cultural needs and all movements of persons to specific cultural attractions, such as herit-

age sites, artistic and cultural manifestations,

arts and drama to cities outside their normal country of residence. In order to structure the

way cities can be looked at as destinations for

cultural tourism a framework has been de-

veloped based on the predominant (cultural) product of a place and the type of place, such as village, town, city and metropolis.

• The Process of rebranding (Fig. 3.3) The main steps in rebranding comprise name creation and registration, the design of a logo

and associated visual image, market research, and advertising. More fundamentally, rebranding might be seen either as a tactical issue whereby the new brand is operationally

attached to the place product, or as an impor-

tant strategic matter in which all the processes of the urban development authority revolve around the construction and development of the new brand.

presentation of place to create and market a competitive position in attracting or retaining

resources” 14. Not only can a good city image increase local resident’s self-confidence and

sense of pride, but it also can be an important constituent of the city’s investment environ-

ment, which attracts people, gathers funds, and impetus socioeconomic development. In

fact, the city operators often use every means, and try their best, to mold a good city image, and transmit it to the target persons, through every kind of media, to attract them to locally invest and travel.

The city image marketing is commonly used in city marketing. Its basic strategy is to cre-

ate and market a new image to substitute the negative impression originally existing in the mind of the residents, investors and visitors.

The marketed city image may not depend upon the objective reality, so as to make the future “buyer” understand the superiority and the development blueprint of the city

much better. However, it is more important to

solve a city’s real-life problems while attempt-

ing to change the image. It should be stressed that prior to a city beginning to market itself, local authorities should make sure that the city does in fact have the abilities to supply

3-2-3. The city’s image

City image is the public’s overall sensation

basic services and infrastructure, other than to deal with the image.

and comprehensive impression of the city, involving each aspect of the society, culture,

economy, environment and so on. The impor-

tance of the image to city marketing can be found in Short et al., who declared that “place 12. Roger Bennett and Sharmila Savani (2003)/ The Rebranding of City Places 13. LIU Yuan, CHEN Chong (2007)/ The effects of festivals and special events on city image design

58.

3-3 Culture-led Regeneration : Towards a theoretical framework for developing city brands The designation of the cultural city and the use of the arts and entertainment as tools in 14. Short J R, Breitbach S, Buckman S (2000), et al. From world cities to gateways cities. City, 2000, 4: 317–340

Pic 3.2 Centre Pompidou, Paris, France

Pic 3.3 The 104, Paris, France Old Parisian Funeral Parlour transformed into a Centre for the Creative Arts

urban regeneration is now a universal phe-

quarters’ in Europe, a catalogue of thriving

the city of renewal. Culture-led regeneration

ally involves the establishment of a flagship

nomenon which has accelerated in the era of 15

can be understood as the use of cultural projects to revitalise economically depressed cities and regions. This can involve the promo-

tion of arts-based events and attractions along with encouraging the development of high

quality housing and retail, and the attraction of professional businesses to the area.

Culture-led regeneration programmes are im-

plemented in order to foster a new image for a city or region (Doucet, 2007: 5-6). The shift

to a globalised economy has seen increasing competitiveness between cities, meaning that

they must now vie for investment and sta-

tus on a global scale. In the last twenty-five

years post-industrial cities have increasingly adopted strategies of culture-led regeneration in order to revitalise stagnant economies and

solve problems of unemployment and deprivation . 16

Since the 1980s, there has been an upsurge of interest in the phenomena of culture-led regeneration: using culture as an engine to re-

vive beleaguered postindustrial cities. From

‘cultural downtowns’ in America to ‘museum 15. Graeme Evans, Culture Cities: Planning or Branding 16. Christopher Middleton and Philip Freestone (2008), The Impact of Culture-led Regeneration on Regional Identity in North East England

cases exist17.

Such urban renaissance usu-

cultural institution, be it a museum or a per-

formance art centre. A carefully-orchestrated culture-led regeneration policy can indeed

revitalize the community economically, envi-

ronmentally, socially and culturally. (Brand et al., Evans & Shaw, 2004). It must be emphasized that this improvement strategy is by no

means a guarantee of a commercially-promis-

ing future, and many attempts to replicate the method have flopped.

However, cultural regeneration programmes

should not be considered a guaranteed solu-

tion to long standing social and economic problems. There is ample evidence that many cultural regeneration schemes have failed to

achieve their initial aims and in some cases

the whole cultural revitalisation of cities has turned out to be unsuccessful. Glasgow is often cited as a prime example of this, with Lau-

rier (1999), MacLeod (2002) and Jenkins (2005) all stating that the city used its status as European Capital of Culture 1990 to hide its working class heritage and socialist history caus-

ing resentment and hostility amongst many inhabitants. Doucet (2007) also suggests that 17. Bianchini & Parkinson, 1993; Sirefman, 1999; Brooks & Kushner, 2001; Evens, 2001; Wynne, 1992

.59

Figure. Torinoâ&#x20AC;&#x2122;s Top 10 Museums Historical Center Industrial Area

60.

Egyptian Museum : 576,200 (visitors)

This figure shows top 10 popular museums in Torino in 2011. 28.27%

National Cinema Museum : 565,762

27.75%

Palazzo Madama : 266,325 13.07%

Palazzo Reale : 205,716 10.11%

Museo dell'Automobile : 150,000 7.36%

Egyptian Museum and National Cinema Museum are most well known Museums in Torino. As Figure shows that those two Museums had silimar ratio of their visitors and were prominently hosting over 50% of visitors from top 10 museums. Which means these two are the most strongest attraction of Torino. Another feature of Museums in Torino is most of heritage and museum and tourist’s place are centralized in the historical old center, figure also says that 90% of museums agglomerate in the historical center or nearby. For the “balanced development”of the city and tourist activities, decentralized urban cultural plan is needed. Pinacoteca Agnelli inside Ligotto FIAT (Formal FIAT FActory) recorded 55 thousands of visitors in 2011 but still small-sized gallery holded 2.7% quoata of museum visitors. Recently between Po river and Lingotto area in where Olimpic park 2006, Automobile Museum in March 2011. Italian Architect Cino Zucchi designed new car museum, remarkably this museum recorded 15,000 visitors for 162 days after opening. New museum have high expectation for tourist attraction on outside of city centre. But still Torino dose not have much interesting point to be worldwide tourist city.

GAM : 80,747

(contemporary art museum)

3.98%

Out of City center

Pinacoteca Agnelli : 55,000

(Lingotto)

2.71%

10% Armeria Reale : 49,304 2.31%

90%

MAO

(Oriental Art Museum)

2.26%

Historical Center

Rocca del Borgo Medivale 2.18%

Fig 3.4 Number of Museum visitors in Torino Source : ministero per i beni e le attivá culturali (05/01/2012) fondazione torino (12/01/2012)

.61

cultural regeneration can encounter problems

opment of Salford Quays. Elsewhere in Eu-

those with a strong sense of local identity.

out extensive cultural regeneration schemes19.

if it is not supported by residents, particularly

Despite the mixed success of culture-led regeneration throughout Europe many cities continue to enthusiastically pursue

highly

visible strategies of culture-led regeneration

in their drive for economic revitalisation.

These strategies continue despite the lack of

empirical evidence into the long-term impacts that culture-led regeneration has on a city,

and continued claims that working-class inhabitants may be excluded from any benefits cultural regeneration may bring.

rope both Berlin and Barcelona have carried Well organized and planned museumnot only

attract huge group of visiotrs but also change

the image of the city totally. We can see many cases of museum economy s which are characterized by great prominence among tourists

and world fame among the general popula-

tion; a large number of visitors; an exceptional architecture; and a large role of commercialization, including a substantial impact on the

local economy. Those are a “must” place for tourists. Such museums are featured prominently in guide books. The readers are told

that a visit is not to be missed. Superstar mu-

3-4. Methodology: Museum regeneration Regeneration is given as tourism. ‘museums and galleries’act as a powerful engine for regeneration. And they are a primary reason

why overseas visitors come to this country.

Culture-led regeneration has been used ex-

most everyone is aware of. Somtimes muse-

ums have a type of architecture which makes the building itself a world famous artistic feature. There are not many tourists who, for example, go to Leningrad without visiting

tensively around Europe18.

the Hermitage, Rome without the Vatican Mu-

be deliberately located in a less prestigious

without the Prado, London without the Na-

One of the first major cultural facilities to city district has been the Pompidou in Paris.

The preference for form and architectural impact over function was evident early on: ‘Although..iconic and provides Paris with a new landmark, it has proved like Wright’s

Guggenheim or van der Rohe’s Neie gallery

in Berlin, less of a success as far as the display of art is concerned’ (Schubert, 2002 p.60). The Bilbao region of Spain is often cited as one of the most successful examples. Recent examples in the UK include the Tate Modern and

Renzo Piano’s ‘Shard of Glass’ on the Lon-

don Docklands, the Millennium Galleries and Winter Garden in Sheffield and the redevel18. Gomez 1998; Keating and De Frantz, 2004; Miles, 2005

62.

seums have achieved a cult status which al-

seums, Florence without the Uffizi, Madrid tional Gallery, Vienna without the Kunsthis-

torische Museum, Amsterdam without the

Rijksmuseum, or Paris without the Louvre. The 114 BRUNO S. FREY same holds for the

many tourists visiting the United States; there are certainly only a few who would not visit

the Metropolitan Museum of Art and/or the

Museum of Modern Art when in New York, the National Gallery of Art when in Wash-

ington, or the Art Institute when in Chicago. Superstar museums are forced to offer “total

experience” to the visitors and make visitors’ perception of the whole city’s image and support local economy as well.

19. Julia Winfield-Pfefferkorn (2005)/ Master thesis - THE BRANDING OF CITIES (Graduate School of Syracuse University)

in future be able to enjoy a museum if they

3-4-1 Museum Effects There are two types of demand for museums.

The first is the private demand exerted by the visitors. These may be persons interested in the exhibits as a leisure activity or as part of

their profession as an art dealer or art historian. The visit may be undertaken by individual or family decisions, or may be part of an

organised activity, e.g. schools or firms. The

second type of demand comes from persons

and organisations benefiting from a museum. This social demand is based on external effects and/or effects on economic activity.

â&#x20AC;˘ Social Demand

Museums produce effects on people not actually visiting the museum. These benefits can-

not be captured by the museums in terms of revenue.

â&#x20AC;˘ External Effects

Museums create social values, for which they are not compensated in monetary terms. As a consequence, museums tend not to produce

these values, or do so in too little quantity. Five types of such external effects may be conveniently distinguished:

- Option value. People value the possibility of

enjoying the objects exhibited in a museum sometime in the future.

- Existence value. People benefit from knowing that a museum exists but do not visit it themselves now or in the future.

- Bequest value. People derive satisfaction

from the knowledge that their descendents and other members of the community will

20. Bruno S. Frey and Stephan Meier(2003), The Economics of Museums, Working Paper No. 149, Institute for Empirical Research in Economics University of Zurich

choose to do so.

- Prestige value. People derive utility from

knowing that a museum is cherished by per-

sons living outside their community. They themselves need not actually like the museum, nor even visit it.

- Education value. People are aware that a museum contributes to their own or to other

peopleâ&#x20AC;&#x2122;s sense of culture and therefore value it.

The non-user benefits and cost have been empirically measured by using three different techniques:

- An obvious possibility is to conduct representative surveys of both visitors and non-vis-

itors of a museum. The questionnaires have to be carefully designed in order to elicit the

true willingness to pay for the various social

values produced by a museum. In particular, the persons surveyed have to be confronted with trade-off questions making clear to them what other goods and services have to be

given up in order to provide these non-user

effects. Best suited are Contingent Valuation

Studies, which were first developed to cap-

ture environmental values but have served well to capture cultural values (see, for ex-

ample, Martin, 1994; the extensive empirical literature is surveyed inNoonan, 2002, and a

critical discussion from a behavioural point of view, see Sunstein, 2002).

- Another technique relies on the revealed

behaviour of individuals. The value of a museum for the non-visitors is captured by ob-

serving how they act. One well-developed procedure is to estimate how much property

increases in value in a city containing a museum. The idea is that people are willing to pay more for a house or apartment situated

in a location with a museum, compared to an

.63

equivalent house or apartment in a location

popular with politicians and administrators

the induced increase in property values, many

spend money on museums. However, these

without such a museum. In order to isolate other influences on property prices have to be

controlled for. This can be achieved by running carefully specified multiple regressions.

The same “compensating variation” can be

computed by analysing wages. Here the idea

is that persons are willing to work for lower compensation in a location housing a muse-

um. Again, the many other determinants of wages has to be controlled for in order to be

able to isolate the monetary effect of having a

museum. The compensating variation meth-

od has been used, for example, by Clark and Kahn (1988).

- A third technique to capture social values is to analyse the outcome of popular referenda

on expenditures for museums. In Switzerland, with its many referenda, this approach

has been successfully used to identify option, existence and bequest values of buying two paintings by Picasso for a museum (Frey and

Pommerehne, 1989, chapter 10). For the performing arts, Schulze and Ursprung (2000)

analyse a referendum in Switzerland on the amount of support for the opera house in Zurich. They could also detect external effects. • Effects on Markets Museums produce monetary values for other economic actors. They create additional jobs and commercial revenue, particularly in the

tourist and restaurant business. These expen-

ditures create further expenditures (e.g. the restaurant owners spend more on food) and

a multiplier effect results. Impact studies (see e.g. Seaman, 1997; 2002, and for two special

exhibitons, Wall and Roberts, 1984) measuring the additional market effects created, are

64.

because they provide them with reasons to

studies have to be interpreted with much care: Impact studies tend to focus on the wrong issue. The raison d’être of museums is

to produce the unique service of providing a certain type of cultural experience to its visitors as well as providing the non-user benefits discussed above.

A museum’s task is not to stimulate the economy; there are generally much better means to

achieve that goal. For example, a theme park or an exhibition of industrial machinery may

be much better in stimulating the economy.

If one follows the line of argument of impact studies, one would have to give preference to

whatever expenditure leads to more economic stimulation.

The utopian vision of seeing a landmark mu-

seum or gallery as the answer to economic

problems and the key to regional economic and, therefore, social development is to be

complicit with several misconceptions: what

the contemporary gallery or museum might

be, and the collapse in the division between high art and popular culture.21

Torino has 82 Museums and 3 millions people visit here annually. (+ 250.000 since 2002). Egyptian Museum and cinema Museum are most well known and especially the Mole of

Cinema Museum (Museo del cinema) is the

landmark of Torino city. Even though Torino has many art galleries and museums and mu-

nicipality introdece the city with well planned their strategy to connect all museums net-

works for tourists, still people thinks Torino Índustrial Image’.

21. Pam Meecham (2005), Rethinking the Regeneration Industry Museums for changing lives? P. 7

Museums are more important than ever be-

and culture (rather than their being tradition-

leisure activities and belong to one of the most

and art galleries).

fore. They play a substantial role in people’s

important tourist attractions. Torino need

more impactful landmark as a tourist city escape from industrial image.

al historical places dominated by museums The modern approach to district rebranding is to try to make a location a desirable place in

which to live (as well as to invest and develop industrial activity) and one that outsiders will want to visit for social and recreational pur-

3-5. District Rebranding An increasingly common practice is for a city’s

authorities to attach a fresh brand identity to

a particular locality within the city, especially

when the area has been redeveloped so ex-

tensively that its basic character has changed. Many inner city districts of ‘industrial’ cities

went into decline in the 1960s and 70s, resulting in high levels of economic and social deprivation. Often the people who continued to reside in these districts were unskilled and

unemployed. Government policy both in Western Europe and North America has been

to enhance the attractiveness of depressed inner city areas by stimulating both business investment and the inflow of new residents.

There are many examples of district rebranding within urban conurbations. For instance,

plans were proposed in 2002 to transform

London’s Bishopsgate Goodsyard area into

the ‘Covent Garden of the East End’, with a raised ‘park in the sky’ alongside ‘green paths

and modern amenities’. Controversy surrounded the development, however, as the

district was the centre of one of Britain’s larg-

poses and in order to shop and spend money. Hence an urban regeneration programme

might devote as much attention to removing graffiti, laying flower beds and refurbishing

facades as it does to the conversion of old

warehouses into cheap business premises.

The availability of parks, libraries, swimming pools, theatres and museums may be deemed as important as the creation as new manufac-

turing premises, car parks and convention centers.

Although the marketing of an area cannot

of itself physically improve the district it is

undoubtedly the case that, in the words of

Hultink and Hart (1998), ‘the world will not

automatically beat a path to the door of a better mousetrap’. Rather, the advantages of new

developments must be communicated forcefully and meaningfully to the public. Success-

ful urban regeneration can only be achieved when people become aware of the existence of new place products and recognize that

they possess real benefits. This implies a critical role for the marketing function during the process of rebranding.22

est Bangladeshi communities and housed a local market and many small ethnic-minority owned businesses. Another example of district rebranding was the 1996 ‘London’s Wild’

campaign which attempted to rebrand some of London’s central tourist areas as vibrant

and exciting, with a 24-hours a day night-life

22. Graeme Evans, Culture Cities: Planning or Branding

.65

Case Study

4. Museum: From industrial image to cultural place

he rise of fordist mass production in the twentieth century was associated with the growth and spread of the large industrial metropolis. New style of urbanization and city project that is posing many unprecedented challenge to policymakers around the world appears. Numerous attepts have been made to characterize the essential features of this new economic order. It has been variously evoked in terms of postindustrial society (Bell 1973) flexible accumulation (Harvey 1987), and postfordism (Albertsen 1988), among other lables, although none of them is entirely satisfatory.1 ‘Culture’ is defined broadly to encompass: the visual and performing arts; audio-visual arts; architecture and design; heritage and the historic environment; museums, galleries and archives; and tourism as it relates to the above. ‘Regeneration’ is defined as ‘the positive transformation of a place – whether residential, commercial or open space - that has previously displayed symptoms of physical, social and/ or economic decline.’2 Large-scale internationally famous cultural artifacts, such as the Eiffel Tower in 1. Allen J. Scott (2006) / Creative Cities: Conceptual Issues and Poicy uestions / Jounals of Urban Affairs, Volume 28, Number 1, Pages 1-17, Copyright 2006 Urban Affairs Association 2. Pam Meecham (2005), Rethinking the Regeneration Industry - Museums for changing lives?/ engage review, Issue 17 – Summer 2005

66.

Paris, the Sydney Opera House, and the Statue of Liberty operate as central tourist attractions, becoming symbols of their respective cities. There is, however, no statistical estimate dealing with the impact of a single large-scale cultural artifact and its contribution to tourism (Landry and Bianchini 1995). In the museological sector, an early instance where a cultural institution acts as a catalyst for the urban rebirth is the Georges Pompidou Centre and ‘the Marais’ neighbourhood in the first arrondissement in Paris. But perhaps no recent cases are as well-documented as the Guggenheim Museum, Bilbao (hereinafter GMB) in Spain and the Tate Modern in the United Kingdom. The sharp contrasts of ‘before’ and ‘after’ in each of these cases have garnered tremendous media coverage and extraordinary cult following. • Museum reputation -and Architecture

Architectures that have the ‘wow’ factor may be visitor magnets. The unrivalled extensiveness of the modern art collection possessed by the Museum of Modern Art, New York, single handedly turns the MoMA into an art Mecca. Several museums are presented in this

.67

4-1. The Guggenheim-Bilbao Museum Effect

4-1-1. The Cultural economy and local economic development

1,050 1,000

The city of Bilbao is located in the north of Spain, a short distance from France. 1,100

2,200

1,000

2,100

900

2,000

800

950

1,900

700

900

1,800

600

1,700

500

850 800 750

4-1-2. FOCUSING ON TOURISM PROMOTION

Thousand

Prior to the depletion of its mining, steel and shipping industries, Bilbao had long been an affluent port capital, producing 20% of the world’s iron ore (Zulaiki, 1997). The decline had started in the early 20th century, and by the time the Guggenheim Foundation, New York, arrived in the ‘90s, Bilbao’s unemployment was among the highest in Spain and its political situation the most volatile in Europe.

Bilbao has completely changed its image worldwide, with a subsequent positive effect in terms of visitors to the city. We do not deny that the Guggenheim Museum has changed Bilbao’s former image, which was largely associated with either pollution or political violence, making it the new symbol of the city worldwide. It is economic revitalization, regarded as an almost automatic outcome of projects such as the Guggenheim Museum, that was called into question. It is the risky use of ‘urban flagships’ in a context of serious decline, as much as the subsequent political discourses built up around ‘success stories’ which stress that these are the key to prosperity, that were and still are in dispute.3 The visitor number has since fluctuated but rarely dips under 900,000 per year (Anderson & Nurick, 2002).

400

1,600

300

1,500

200

2002

2003

2004

2005

2006

2007

2002

2003

2004

País Vasco

Fig 4.1 VIsotors to the Guggenheim Museum of Bilbao Source : Elaboration by the authors from the Eustat database

Thousand

paper. The museums concerned also engender the momentum for the rejuvenation of the places The museums are where art, architecture and interest meet. Here I show good examples of several cities how they change their industrial images that change with museum and culture-led project .

2005 VizcayaB

2006

2007

1,400

ilbao

Fig 4.2 Number of visitors to Basque Country-VizcayaBilbao

Source : Eustat database

3. Maía V. Gómez, Sara González (2001), A Reply to Beatriz Plaza’s ‘The Guggenheim-Bilbao Museum Effect’, International Journal of Urban and Regional Research Volume 25.4 December 2001

68.

Bilbao, Spain

• Bilbao Urban Development Pic 1. Industries and shipyards along the river Nervión Pic 2. Environmental burden and derelict sites Pic 3,4. Bilbao Guggenheim, Bilbao Ría 2000: Before and After Bilbao Guggenheim

.69

Spain’s largest port and fourth-largest city, the population of metropolitan Bilbao is 905,866. As the economic and financial capital of the Basque Country, Bilbao’s gross national product (GNP) per habitant is 95% of the European Union average and 120% of the average of Spain as a whole. Founded in 1300, Bilbao reached peak prosperity during the industrial revolution and remained Spain’s northern capital of steel and shipping up until 1975, when the recession struck and turned it into a decaying backwater. Between 1979 and 1985, almost 25% of the in-

Fig 4.4 Measurable impact of Bilbao Guggenheim

and a relevant part of the economic structure

annual rainfall is about 1,500 liters per square

dustrial jobs in metropolitan Bilbao were lost,

deteriorated. In the late 1980s, city authorities began to take the tourism industry seriously as a source of job creation that could fill the

gaps left by declines in older industries. Im-

age policy was also planned to have a positive effect on the reputation of Bilbao as a business center, with the principal aim of encouraging

the local entrepreneurs’ pride, undermined

by both the economic crisis and the violence of the ETA(ETAis a terrorist group that demands separation of the Basque Country from

Spain). Local leaders in the 1980s had very litFigure 4.3 Guggenheim Museum of Bilbao and

1999

2000

2001

Visits (‘000) 1,307 Direct expenditure (Euro m) 190 Generation of GDP Direct & indirect

1,058 203

975 192

930 150

4,161

3,937

4,415

Direct & indirect & Jobs supported

3,906

tle experience in marketing the city, which had few renowned cultural assets to attract leisure

tourism (the Bilbao Museum of Fine Arts, the

Archaeological-Ethnographic Museum, two symphonic orchestras, a theater, and twom-

ovie theaters) and unpleasant weather (the meter). Moreover, the city lacked a positive

image as a consequence of industrial depra-

vation and the terrorism of the ETA. Nor did the Basque authorities comprehend the tourism potential of the region before, either by improving the promotion of Guernica,1 the

fine cuisine of the Basque region, its natural setting, or even its proximity to Pamplona, the

city of the fiesta par excellence, made famous by Ernest Hemingway.

Nevertheless, the perception of tourism in Bilbao as something new is deceptive. Industrialized cities have always attracted visitors

from outside their immediate region because

of business travel, retail, cultural and sports

city visitor

facilities, and the desire to see friends and rel-

Source : Elaboration by the authors from th Eustat database

350,000

atives (see Figure 2). Still, leisure tourism was

300,000

only 8% of the total movement in 1996, where-

250,000

as visitors who came for professional reasons (business and exhibitions in the International

200,000

Fair Center) constituted 60%. Promoted by the

150,000

Basque administration and Bilbao Metrópoli

100,000

30—aprivatepublic partnership—Bilbao be-

50,000 1994

1995

1996

1997

Incoming travellers Over-night

70.

1998

1999

2000

travellers Visitors to Guggenh

gan developing ambitious projects such as the

futurist subway system designed by Norman

Pic 4.4 Bilbao Guggenheim

Foster and the newGuggenheim Museum.

in a city not known for its tourist attractions

the key question is the following: How much

The plan also includes a transportation hub James Stirling, a new airport by architect and

engineer Santiago Calatrava, and a vast waterfront development of parks, apartments, offices, and stores adjacent to the Guggenheim,

designed by Cesar Pelli. This program is being undertaken mainly by the regional administration. In fact, the Guggenheim becomes a

symbol of Basque fiscal autonomy, a public

investment made without recourse to central government funds. Interestingly, at the time

in order to revitalize its economy. Therefore, additional tourism, if any, can be attributed to the Guggenheim Museum Bilbao from its

opening in October 1997? Tourist growth in-

flow to the Basque Country may be a result of the worldwide growth in tourism.

The measurable effects of the Guggenheim

Bilbao are impressive, but the figures only

tell half the story: the museum has helped to transform perceptions of the city.

the Basque administration and the Guggenheim Foundation New York began negotiations,

4-1-3. Guggenheim Impact

was being refurbished and the Guggenheim

Figure show that the number of incoming

autonomic governmentâ&#x20AC;&#x2122;s financial capacity.

opening of the museum onwards (October

Frank Lloyd Wrightâ&#x20AC;&#x2122;s building in New YorkFoundation urged liquidity. This attests to the The Guggenheim Museum Bilbao was in-

tended to be the core attraction for tourism

travelers to the Basque Country rose from the 1997). Figures show an average increment of 31,453 incoming travelers per month, 10,381

.71

of whom are foreigners (see Table 2)—that is,

rises to 55% in the case of Spaniards (see Ta-

the hotels also is higher (see Table 2), having

KPMG. Their results state that 97,525 visitors

a significant 33%. The level of occupation of improved from a 37.8% average to a higher

46.6%. Yet, all this positive effect could be attributed to the influence of the favorable economic cycle in Western countries or the grow-

ing flow of tourism worldwide rather than to the museum. Therefore, several regressions are

undertaken (see Table 1) in which the dependant variables—the number of incoming travel-

ers, overnight stays, and level of occupation— are regressed against time trend (TREND), seasons,2 and the number of visitors to the

Guggenheim (GMB), in which time trend is a proxy variable of alternative variables (business cycle, tourism upward trend, and dyna-

mism of the International Fair Center). This

analysis aims to distinguish the Guggenheim effect from others and validate KPMG’s estimates. The Durbin-Watson and Lung-Box tests

are used to check serial autocorrelation. Apparent autocorrelation may be caused by functional misspecification, either by the inappropriate functional form or by the omission of a

relevant explanatory variable (Crouch 1994). The fitted relationships are presented in Tables

1 and 2. Avisitor increase to the Guggenheim

leads to a 0.175 increase in the number of incoming travelers to the Basque Country. From

the opening date of the museum, an average of

98,035 people visited it monthly, which gener-

ated an additional monthly average inflowof

ble 2). These results modify those supplied by

were due to the Guggenheim in June and July 1998, whereas the regression attributes to the Guggenheim the inflow of 35,655 visitors.

KPMG’s study is biased upward. As far as the overnight stays are concerned, a one-visitor increase to the Guggenheim leads to a 0.284

increment in the amount of overnight stays. This means that 27,842 overnight stays of the total 55,459 average increment per month are attributed to the museum, that is, a significant 50% of the growth. As a consequence, the level

of occupation of the hotels has improved from a 37.8% average to a higher 46.6%. In the case

of foreign tourism, the Guggenheim explains 42.7% of the increment, whereas the effect on

the overnight stay of Spaniards rises to 58%. Interestingly, occupancy indices are considerably higher for the top-end range of the hotels

(85%), whereas the average level remains low

(46.6%). This attests to the nature of tourism that Bilbao is generating. A significant portion of the museum attendees is concentrated in the

upper end of the income scale and is therefore in a position to incur high expenses with the

corresponding multiplying effects in the city.

In conclusion, the Guggenheim Museum Bil-

bao exerts an important effect on the attraction of tourism. The relevant question is this: Why is the museum attracting tourism?

17,156 visitors to the Basque Country. In otherwords, visitors to the Guggenheim account

4-1-4. Evaluating the generation of tourism

by the Basque Country from October 1997 to

Judging by the first evaluation undertaken by

total 31,453 average increase per month. With

Foundation New York, the principal motive

for 54% of the growth in tourism experienced January 2000—that is, 17,156 visitors out of the regard to foreigners, the museum accounts for

almost 44% of the growth, whereas the effect

72.

Thomas Krens, director of the Guggenheim that inspires tourists to visit the Guggenheim

Museum Bilbao is the magnetism of Frank

London, UK

Gehry’s building itself (Krens 1999) depends on the consumed quantity, as well as the

function of past consumption of art. In other

4-2. ‘Tate Modern Gallery’ - The rise, fall and transformation of Bankside power station

piece’s image through printed and audiovis-

The redundant Bankside Power Station

museum a fashionable imperative for tourists

ern to become the most visited modern art

ability to appreciate art, which in turn is a words, the diffusion of Frank Gehry’s masteruals means of communication is making the (Plaza 1999). An additional motive may be the celebration of special exhibitions such as

China 5000 Years, in which no less than 424,883 visitors attended from July to September 1998. This score can be compared to the

1998 total of 1,307,187 tourists who visited the museum in that year. The agenda for future

research requests a more market-segmented approach to delimit more accurately the influence of each motivation, including the role

of tour companies, the efficiency of manage-

ment, and the publicity all potential variables to explain the important growth in the number of tourists. Future studies may also en-

able us to determine why average stays are so

short (1.8 days per visitor) and may shed light on the nature of tourist trade.

In conclusion, the Guggenheim Museum Bil-

bao is having a significant positive impact on Bilbao due to the museum’s capacity for at-

tracting tourists. However, we should raise the interesting question as to whether a large

internationally famous cultural artifact of this type may be subject to the product life cycle.

Furthermore, Frank Gehry could replicate this style elsewhere, as presumably will happen with the forthcoming Guggenheim Museum in Manhattan (Cash and Ebony 1999),

perhaps causing Bilbao to lose its present ad-

vantage. Still, a masterpiece cannot be facilely reproducible, not even by the author himself. Creativity is a highly elusive reality, even for the artists.

proved an astonishing discovery. Tate Modmuseum in the world.

Tate Modern is an example of the economic benefits that urban regeneration can bring.

Ironically it could be said that the 1943 County of London Plan, with its visionary aim of

banishing industry and regenerating Bankside for recreational purposes was achieved 60 years after it was first proposed.

The power station was built in two stages, between 1947 and 1963 on the bankside in London where had the reputation as a debauched

and squalid area, packed with brothels, bearbaiting pits. The planning process was characterised by a tension between the conflicting

needs of electrical power and amenity, but approval for the power station was ultimately

crisis-driven as a result of the national fuel

supply problems of 1947. But the power sta-

tion didn’t remain useful for long - and was closed in 1981 after just 29 years of electricity

generation. The hike in oil prices in the 70’s

meant that other forms of electricity produc-

tion became more cost-effective, rendering Bankside an expensive white elephant.

Economic and environmental issues led to

the eventual closure of Bankside in 1981 and, more generally, the relocation of power stations outside urban areas. For 13 years, Bankside Power Station remained empty, until the Tate Modern acquired the site in 1994. The

reuse of an industrial building exemplified

by the transformation of Bankside power station to the Tate Modern gallery can be seen

.73

in the context of urban regeneration and the

within the range of £75 ˜ £140 million, about

tional architects competed for the contract to

2005).

rise of leisure and tourism. Various internaredesign the site, with Herzog & de Meuron

the eventual winners. The building of the Tate was funded by the Millennium Commission (monies from the National Lottery fund - £50m), further funding was provided by the

Arts Council, English Partnerships, the Lon-

don Borough of Southwark and donations from corporations and private individuals to

half of each is specific to Southwark (Travers,

The economic impact on this area has significantly exceeded expectations.

• The estimated economic benefit of Tate Modern is around £100 million, of which £50 - £70 million is specific to Southwark. (the projected figure in 1994 was £50 million overall

a total of £134 million. Their design was the

and between £16 to £35 million for Southwark)

station shell substantially intact.

• Approximately 3,000 jobs have been created in Lon-

only one which retained the existing power don, of which about just over half are specific to the

4-2-1. The Economic Impact of Tate Modern

Southwark area. (the projection in 1994 was in the region of 1,500)

In July 1994, McKinsey & Company undertook a study for Tate assessing the potential

economic impact of the then proposed Tate

Gallery of Modern Art at Bankside. To mark

• Tate Modern itself has created 467 jobs in addition to 283 during the construction phases. Currently 30% of those employed at Tate Modern come from the lo-

the first anniversary of Tate Modern, McKin-

cal area.

light of the actual figures for the first year. Mc-

• The number of hotel and catering businesses in the

sey re-evaluated the impact of gallery in the Kinsey consultants, originally estimating that

an overall economic benefit of £50 million can be created, now believe that a more realistic

local area has increased by 23% from 1997 - 2000. This has led to an estimated 1800 new hotel and catering jobs in the Southwark area.

impact figure of the Tate Modern should fall Fig 4.5 Tate modern Visitor figures by year Source : Tate modern Gallery

Financial Year Total

2000/01

2001/02

2002/03

2003/04

2004/05

2005/06

4,819,469

3,774,513

4,377,406

4,226,335

4,147,549

3,958,026

2006/07

2007/08

2008/09

2009/10

2010/11

5,235,000

5,236,702

4,647,881

4,788,000

5,035,000

* visitors to 11 April 2005

Tate Modern

74.

4,147,549 ,275,029

(to Permanent collection)

1,314,796

(to Temporary exhibitions)

MoMA New York

1,000,000

(November 2004 - march 2005)

Guggenheim New York

Just under 1 million

Guggenheim Bilbao

900,000

SFMOMA

768,483

Centre Pompidou 1

Pic 4.5 Tate modern 2008 • Property prices and commercial investment levels are increasing faster in Southwark than London averages. • Commercial development in Southwark has outpaced the London average. As has the increase in the number of new businesses.

4.5 million per annum in the last 11 years of operation (2000-11).

The total project cost for Tate Modern was

£134.5 million. Later, in terms of its economic

viability, it is estimated that Tate Modern now generates £100 million per annum for the London and UK economies (Travers, 2005: 27).

• Tate Modern has been one of the major factors in the regeneration of the South Bank and Bankside. 26 % of people questioned in a recent MORI poll associated the area with the gallery.

Tate Modern is a clear success in relation to its positive impact on the urban fabric hav-

ing stimulated and benefitted from a huge infrastructural investment immediately to its

south. And at the level of public engagement

it has a significant outreach and aud ence de-

velopment programme, and has become one of London’s most successful tourist sites, with visitor numbers exceeding even the most optimistic projections. Visitor numbers averaged

The architectural vision was for Tate Modern

to create a spectacular landmark in London

and a signature building for Britain in the new millennium. In doing so, a new type of

a museum was created accessible to a wide audience and that offers a broad visual and cultural experience. It arguably offers a new

paradigm for the 21st century museum, which attracts greater audience numbers than

MoMA and the Pompidou(figure) and has also drawn people to the Bankside area, assisting in its regeneration. With the development of the Millennium Bridge, the Tate func-

tions as a major landmark on the South Bank opening up the view and spatial axis over the

.75

76.

.77

River Thames. The next section considers the

levels are increasing faster in Southwark than

visitors who are drawn the internal and ex-

Commercial development in Southwark has

vexed question: who are the audiences and ternal spaces created by Tate Modern. With

around five million visitors annually, against an original forecast of two million, Tate Modern’s success has placed extreme pressure on our existing facilities and programme. So now

Tate modern is under construction to trans-

London averages.

outpaced the London average. As has the increase in the number of new businesses. Tate

Modern has been one of the major factors in the regeneration of the South Bank and Bankside.

form former power station’s spectacular Oil Tanks will open with a summer 2012. The new

4-2-3. Conclusion

tres of space. Tate Modern will show more of

Tate Modern is an icon, perhaps the seminal

low better service for Tate Modern’s 5 million

of course, the first time that the museum/gal-

building will add around 21,000 square methe Collection and the expansion will also al-

annual visitors through enhanced social and civic spaces.

modern museum of the 21st Century. It is not, lery, or in fact the contemporary art gallery

has played such a role. However, Tate Modern is a significant place holder to link a number of notable changes to the role and prac-

4-2-2. Leading Urban Development The economic impact on this area has significantly exceeded expectations. The estimated economic benefit of Tate Modern is around

£100 million, of which £50 - £70 million is

specific to Southwark. (the projected figure in 1994 was £50 million overall and between £16

to £35 million for Southwark). Approximately 3,000 jobs have been created in London, of which about just over half are specific to the

Southwark area. (the projection in 1994 was in the region of 1,500)

Tate Modern itself has created 467 jobs in ad-

dition to 283 during the construction phases. Currently 30% of those employed at Tate

Modern come from the local area. The number of hotel and catering businesses in the local area has increased by 23% from 1997 - 2000.

This has led to an estimated 1800 new hotel and catering jobs in the Southwark area.

Property prices and commercial investment

78.

tice of art galleries in the contemporary city.

Aside from anything else, such galleries are planned to be accessible and inclusive to all-

comers, physically and intellectually, as well as culturally. It has been argued that modern art, being shorn from some of the weight of

cultural inheritance of western history and

education, is in essence more accessible and egalitarian; however, as Stoner Sanders (1999) has shown, this can be an excuse for another

form of ‘soft power’ and cultural dominance. From a purely urban planning and architectural perspective, Tate Modern represents the

new breed of cavernous warehouse galleries,

retrofitted into an old industrial shell, which is itself symbolic of urban and economic trans-

formation and re-use. The fact that it is located away from the existing South Bank cultural complex and quite clearly off the tourist trail

on a Brownfield site in a poor part of London is significant Transforming Tate Modern.

Naoshima, Japan

地中美術館 by Tadao Ando

(Naoshima Contemporary Art museum)

.79

Chichu museum by Tadao Ando Teshima Museum by Ryue Nishizawa Inujima Art Project Seirensho by Hiroshi Sambuichi Benesse house by Tadao Ando

80.

4-3. An Island of Art: Bennesse Art site Naoshima

400

0 ,00 360

300

: Chichu Museum, Bennesse House, Naoshima Island, Japan

200

100

0 ,00 23

4-3-1. Abandoned fishing town after Industries moving out

1990

1995

2000

2005

2009

Fig 4.6 Visitors in Naoshima Island (Thousand) Source : The shikoku shinbun (02, May, 2010)

In Japan, there is a small island has changed

to Cultural place after big industries had left.

This small town called Naoshima was almost dead town before 20 years ago, but now

300,000 visitors come to this small town to see Ando Tadato’s museum and Art village. This visitors increased six times during last

6 years, and this visitors are one hundreds times larger than local population.

Naoshima is a small island(8.13 km2) with a population of 3,300 people (2010), 5km away

from Tokyo. Naoshima was industrial town. The main industries of Naoshima was metal

refineries by Mitsubishi Materials. Mitsubishi Material Corporation’s refinery factory

in Naoshima launched their operation in the fleet located in the north of Naoshima in

1918. Naoshima is geographically separated from major urban centres and is politically,

economically, and culturally marginal travel

industry (43,000 visitors per year, mostly during summer vacation near seaside) and fishing and cultivation of marine products such

as yellowtail and seaweed4. Naoshima’s employed population by industries consists of the primary industries 8.6 percent, secondary

industries 8.6 percent and tertiary industries 4. Yuji Akimoto (2002) / Placing Art: a Colloquium on Public Art in Rural, Coastal and Small Urban Environments Editored by Liam Kelly , Mary McDonag P. 51~58 / Co-published by Sligo County Council and Sligo Borough Council.

46.3 percent (2000)5.

Japan was the world’s leading producer

of copper at that time, and Mitsubishi was bringing in copper ore from the mines around

the country such as Yoshioka mine in Okayama Prefecture, and refining the copper ore. They later began to refine royal metals such as

gold and silver, and became the Asia’s lead-

ing producer of gold. Mitsubishi’s copper refinery expanded its business to occupy approximately 20% of the land area of Teshima

Island and labor of the island. At its peak, during 60s and 70s nearly half of the islanders, 7,000 of them engaged in the works related to the refinery such as discharging and car-

rying of cargo. However, Japan turned to an importer after the end of the war since cheap copper began to enter the Asian market from

the United States. Naoshima copper refinery and its affiliated companies had to downscale their business.

The population of Naoshima Town gradually

decreased from the peak year 7,842(1959), and is now 3,300 (2010). It has been a long time

since the metal refining industry in Japan lost its international competitiveness, and Mitsubishi Material Naoshima had to consider the withdrawal from Naoshima.

5. Global Environment Centre Foundation (2005) / Eco Towns in Japan -Implications and Lessons for Developing Countries and Cities- June, 2005 / download from http://www.unep.or.jp/ietc/publications/spc/ eco_towns_in_japan.pdf

.81

4-3-2. Challenge to An Island of Art After the Benesse Company, a publishing firm centered in Okayama, announced innovative project called ‘Benesse Art site Naoshima’. it

took over the southern half of the island in

1985, working with the then-mayor Chikat-

sugu Miyake, it called in the minimalist Ando

and invited him to design a huge swatch of natural park to be an international centre of

art. Rising to the opportunity – surely any architect’s dream – he opened Benesse House in

1992, then created a Benesse House Museum

(with hotel rooms on the second and third floors) up the road, and then built what is

now known as the Oval, a James Bondian series of six more rooms for guests on the top of a mountain behind the museum, reached by

private monorail. In 2004, he completed the

Chichu Museum which is a 20-minutes walk away.

Art house Project (家プロジェクト) and Chichu Museum(地中美術館) first. And now the project is still on going, Naoshima has changed to

Museum Town which are Teshima Museum, Inujima Museum.

The Naoshima Contemporary Art Museum opened in July of 1992 by architect Tadao

Ando. The main gallery is underground, and the building is surrounded by thick vegeta-

tion. The space is more than a receptacle for art; it actively responds to the surrounding environment, the light and air, the sea and the forested hills. The natural environment and

the concrete structures come together to create

a scene of great beauty and express spiritual

qualities. Tadao Ando’s masterpiece started to make Naoshima famous. In the same time, ‘The Art House Project’ in Naoshima was

conceived as an extension of the museum’s ongoing practice of commissioning works at

82.

the museum. The main site for the project is

Honmura, an old section of the town of Haoshima that has played a central role in the

community throughout its history. Honmura, the village that is home to the Art House Project. A small number of houses in the village have been bought by the Benesse Corporation

and given over to contemporary artists to use

as showcases for original works of art. The Art House Project differs from other commissioned works in scale and in the way it brings

out the special meaning of the site. Each house chosen for the project is changed through the work of a single artist, a process that draws at-

tention to the unique culture of the Honmura area and adds meanings to the house, making it more relevant to the present.

In today’s Japan, there is a skewed concentration of population in the large cities. As culture is disseminated from these urban centres,

regional cultures and customs are rapidly dis-

integrating. This same process is occurring in Naoshima, so the purpose of this project is to provide a fresh perspective on these disap-

pearing elements of local culture and customs and use art to revitalize the community.

And on Mistubishi’s formal copper refinery site, Inujima Art Project Seirensho preserves

and reuses the remains of a copper refinery on the island. Based on the concept of using the existing to create the yet-to-be, the project

brings together architecture by Hiroshi Sambuichi, which makes use of the existing smoke-

stacks and karami bricks from the refinery and uses solar, geothermal, and other natural

energies to reduce the burden on the environment, and art by Yukinori Yanagi, which uses Yukio Mishima, who sounded warnings over aspects of Japan’s modernization, as a motif.

The building also employs a sophisticated water purification system that makes use of the

power of plants. The project truly embraces

4-4-1. Cultural Quarter - Water front Project

model for a new type of regional revitalization

Dundee’s Cultural Quarter provides a plan-

and the environment.

compare with other cities. In seeking to pro-

the concept of a recycling-based society as a

through industrial heritage, architecture, art, These all curtural networks connect Naoshima’s beautiful scenery and revitalize dead

post-industralized city. This small seaside town is getting world famous cultural city.

4-4. Dundee’s ‘Cultural Quarter’ , Scotland, United Kingdom 6

Dundee is on the east coast of Scotland and is home to over 145,000 residents, making

it the fourth largest city in the country (Scot Public Health Observatories, 2008). From major European trading port in the 16th century

to world-leading industrial hub in the 19th century. There has been a severe contraction

of traditional industries. Dundee is a city in which industrial and corporate restructuring

has resulted in the extreme contraction of tra-

ditional industrial sectors. Hence by the 1980s, large areas of the city had become physically redundant, and unemployment in the city was

continuing to increase. These factors exacerbated a broader trend of out-migration from

ning approach against which to consider and

mote cultural quarters, other cities may be less inclined to focus on local identity, distinc-

tiveness and character or taking community interest into account and linking with other

initiatives as opposed to adopting a “singular project” approach (such as maintaining the

city centre) (Evans, 2003). In so doing such Cultural Quarters may serve only to achieve

U.K-wide homogeneity rather than promot-

ing distinctiveness thereby reducing a city’s attractiveness – the original aim of regeneration in the first place. 7

Historically, the City’s maritime location and its harbour were crucial to trade and successful business. However, with the decline and

loss of its docklands in the middle of the 20th century, the City lost its fundamental connection to the water. Although the City still carries

some of the legacy of a post-industrial city, its

new image is being forged from the high regard that international academic and creative

organisations have for its recent outputs in the knowledge and arts sectors.

the city, with some observers suggesting that

the city was becoming a ‘pariah city’ because of self-sustaining decline across a range of fac-

4-4-2. Regerneration of the city : V&A Museum , Dundee

attempts were made to encourage retention of

An art gallery and an art house cinema are lo-

of the city so as to attract visitors and inward

which opened in 1999 as the centrepiece of the

tors, linked to a negative city image. Hence, the population as well as to enhance the image

investment. As in many other cities, arts and cultural activities continue to be a focus of interest in terms of regeneration strategies.

6. JOHN MCCARTHY, Promoting Image and Identity in ‘Cultural Quarters’:the Case of Dundee , The Geddes Institute, School of Town and Regional Planning, University of Dundee, Scotland, UK

cated in Dundee Contemporary Arts (D.C.A),

city’s cultural quarter. McManus Galleries is located in Albert Square, it houses a museum 7. RODERICK STEPHEN DOWEL (2010)/ CULTURAL CLUSTERING, SPATIAL PLANNING AND URBAN REGENERATION: A CASE STUDY OF DUNDEE’S CULTURAL QUARTER/ MSc Urban and Regional Planning School of the Built Environment, Heriot Watt University

.83

Dundee, Scotland, UK

â&#x20AC;˘ Dundee Urban Development

84.

Pic 1. Naval yard at Dundee, 1918/19 Pic 2. Dundee current harbor view Pic 3. Dundee V&A Museum by Kengo Kuma

and art gallery; exhibits include a collection of

fine and decorative art, items from Dundee’s history and natural history artefacts.

Sen-

sation Science Centre caters to visitors and school parties with over 80 exhibits based on

the five senses. Verdant Works is a museum

dedicated to the once dominant jute industry

in Dundee and is based in a former jute mill. A new £47 million pound centre for art and design known as the “V&A at Dundee” is to be built south of Craig Harbour onto the River

Tay and is due for completion in 2015 (Locate

Dundee, 2010). It is estimated the new mu-

seum may bring another 500,000 extra visitors

redefine impressions of the city. The planned changes include:

- A series of five connected regeneration projects stretching along an 8 kilometer coastline of the River Tay estuary - Reconnecting the City to the waterfront with the creation of a high-quality, mixed-use urban quarter by the riverside, right in the heart of the City - A new street grid with a good balance between buildings and urban spaces including a new central water feature - Excellent walking, cycling and public transport

to the city and create up to 900 jobs for the

routes and a new rail station and arrival square

a strong emphasis on enhancing the image

It is intended that construction work will start

visitor numbers. It is currently promoted as

anticipated opening in 2015.

area (Locate Dundee, 2010). There has been of the city to attract investment and increase

the “City of Discovery” in reference to its rich

on the V&A at Dundee site in 2013, with an

history of science based activities.

Kengo Kuma, the man who has designed the V&A at Dundee, has high hopes for the attrac-

4-5. Île Seguin : Turning an Abandoned Industrial Island into a Green Cultural Center in Paris

tion and its effect on the future of Dundee.

V&A at Dundee will play a vital role in Dundee’s ambitious plans for regeneration,

4-5-1. The history of Île Seguin

intended that construction work will start on

Located in the western suburbs of Paris, Ile

ticipated opening in 2015.

tory. At the beginning of the 20th Century,

symbolising the city’s high aspirations. It is

the V&A at Dundee site in 2013, with an an-

The Dundee Waterfront Project will reconnect the city with its historic riverside. This ambitious thirty year scheme is now well under-

way. Through almost a billion of pounds of investment, the Waterfront Project is trans-

forming the city of Dundee into a world-class

destination for visitors and businesses. V&A at Dundee will have the most prominent po-

sition in this ambitious scheme, helping to

Seguin is the former site of a Renault car facthe Île Seguin was practically uninhabited. Although there were some dwellings, the island was still largely a draw for anglers, oars-

men and hunters. The then factory of Louis Renault stood directly opposite the island and

so he decided that it would be a good idea to buy it to turn it into a place of rest and relaxation for his workers. In 1919 he began the pro-

cess of acquiring the island by buying a small parcel of land on it. In 1929, Louis Renault set

.85

Ile Seguin, Paris France

up shop on the Ile Seguin, a small island in

artists.

60 years, the factory closed in 1992 with the

ed in 2003, the SAEM Val de Seine Develop-

the Seine River just southwest of Paris. After

buildings destroyed in 2005. At the end of the century, what was once the largest factory in France lay abandoned, its automobile production moved elsewhere. But if all goes accord-

ing to plan, by 2017, the Ile Seguin will have been transformed into a near-utopian cultural

hub, where the arts, business and residential life mix and sustainability is at the forefront.

The SAEM Val de Seine Development Foundment is headed by Pierre-Christophe Baguet,

Deputy Mayor of Boulogne-Billancourt and directed by Andrew Monk. The SAEM Val

de Seine Development is the developer of the operation Ile Seguin-Rives de Seine.In this capacity, she directed all public spaces and

facilities and coordinates the development of the operation. It seeks in particular to respect

the objectives of urban quality, and environmental landscape.

4-5-2. Artist place on Wasteland The main stages of the development of the island The new plans for the island are to create a

cultural hub to foster emerging contemporary

86.

seguin :

- June 5, 2010: First open the island to the public since 1929. Approximately 45,000 visitors have already been able to appreciate the creation of an evolutionary garden, designed by Michel Desvigne - July 2, 2010: Signature of the deed of purchase by the General Council of Hauts-de-Seine to the Boulogne-Billancourt ground which will host the musical future together. - July 7, 2010: Presentation of the urban project designed by Jean Nouvel. - 2013-2014: First sites on the Ile Seguin. - 2015: Delivery of the first buildings of Seguin Island. - End 2018: The construction is completed.

music complex with recording and performance spaces and a modern art center at ei-

ther end of the island. A cinema, restaurants,

a hotel, and a school will be built between them, but public green space will take prior-

ity. The planning team is aiming to use 100% renewable energy.

To make it happen, high-profile architect Jean

Nouvel has been brought on board to coordinate the efforts of a team of architects. Nouvel has designed agreen tower (without hallways) for Los Angeles and the unusual Quai Branly Museum in Paris.

Is this how to design cities?

Boulogne-Bilancourt plans to begin construction next year, and aims to have everything

finished by 2017. If all goes well, in a few years

4-5-3. A new Eco-Neighborhood The renewal of the site was first proposed in 1997, five years after Renault closed shop. By

the time it is completed in 2017, ‘Île Seguin – Rives de Seine will be a much loved and environmentally friendly modern City district. Its

660.000 m² of overall usable space will have been divided into 350,000 m² of living space, 225,000 m² of offices and 85,000 m² of recreational, open and commercial space.

By the end of 2010, some 2,000 apartments and 80,000 m² of office space will be readily

available, accommodating up to 4,000 inhab-

itants and a similar number of office workers. The proposed redevelopment of the site laid

out by the architects Ateliers Jen Nouvel, en-

visaged an urban focus to the site but one that

was aware of its historical context, lending the whole scheme a clear direction as a development.

An Island of culture, the Extraordinary and innovation The centerpiece of the renovation

will be the Ile Seguin. Plans include a large

the Paris suburb could be held up as a model for urban design made for people, with the environment in mind. But what is the value

of a pre-packaged area as opposed to organic

urban development? We’ve raised eyebrows before at questionable plans to create brandnew “green” communities in the suburbs.

Mat has argued that containing urban sprawl

is more important than flashy green build-

ings. He quotes Stephen Platt of Cambridge Architectural Research: “The key problem is

making this a long-term socially acceptable place where people will want to live and prosper.”

Nouvel’s team has put sustainable development at the core of the project without los-

ing sight of the fact that they’re designing a space for people to live, work and play. While

Boulogne-Bilancourt is a suburb, it is more dense than sprawling. The project is based on

renovating an already-developed (and abandoned) area; it is not breaking new ground.

Ultimately, I think the odds are in favor of the

Ile Seguin being a success. If it becomes the

.87

cultural hub Nouvel and company imagine,

fluence the quantitative and qualitative de-

further away from the city center. If it’s pow-

growing number of examples of this around

people will want to live there- and not move ered by renewable energy and eschews cars for public transportation, all the better.

velopment of large populations. There are a

the world, including the Museum Island in Berlin, the conference and centre in Reykjavik

4-5-4. Grand Paris, Vallée de la Culture: a regional project Île Seguin – Rives de Seine is a part of the Vallée de la Culture organisation led by Daniel Janicot, in turn part of the challenging Grand Paris project. This is a city regeneration and

planning project of international significance and which highlights how cultural factors are closely linked to urban development.

According to a recent announcement from Janicot, Charles Landy is one of the pioneers

of the idea of ‘creative cities’, a principle that

proves the way that cultural projects can in-

88.

Tate in London, a development of the Bankside. These examples can only help to highlight the strengths of the proposal for the Ile Seguin and the region.

As the French President Nicolas Sarkozy put it, this is a project that will become an ‘island

of all the arts’ a figurehead for the Grand Paris that will point a dynamic way ahead for the economy of the area. Much of this revival will stem from a new transport plan including the

new automatic Metro and a programme of regeneration that includes: a hothousing of tal-

ent to showcase the area on an international stage; growth based on innovation in the in-

dustrial and service sectors; specialisations in

these sectors for the immediate area but also for the whole region; synergy between specialists from a number of areas to encourage

interdisciplinary research and development as a driver of innovation. The whole Vallée de

la Culture project is intended to lend a new dynamic to the whole region. Carried out under the auspices of the Department Hautsde-Seine, the project aims to revive the area along the Seine, by focussing on culture, the environment and accessibility. It is exactly this philosophy that is being applied to the Ile Seguin project. It will in fact become part of a cultural quarter, that also includes the Tour aux Figures by jean Dubuffet, Hangar Y in Meudon, the state factory and the state ceramic museum of Sèvres, the 1930s museum and the garden museum Albert Kahn von Boulogne-Billancourt. This cultural quarter is developing new attractions all the time, such as the Belmondo Museum that can be found in the Chateau Buchillot von Boulogne-Billancourt. The area is also dotted with parks and rec-

reation areas including the municipal Park of Île Saint-Germain, the Parc du Trapèze, the water sports centre and the Île de Monsieur, the Parc de Saint-Cloud, the Parc Edmond de Rothschild or the park at Chateau Suresnes. A great many places for people to kick back and take a deep breath. The underlying concept of the Vallée de la Culture is a perfect fit with the challenges, vision and philosophy of Grand Paris, in the way it presents a unique opportunity to bind the various communities together using the same dynamics at the same time as strengthening the cultural life on the Ile-de-France. The Ile Seguin is one of a kind, an indicator of what the future holds for Grand Paris, one that is both innovative and life affirming. Thanks to both its history and location, the island has long cast its shadow over this particular area of Paris. The redevelopment of the island remains true to this tradition, maintaining the uniqueness of island while respecting the needs of the environment. Every element of the project from the banks of the Seine to the roofs of its buildings, is

.89

somehow linked to the river, from the hills of Meudon to the Trapeze neighbourhood in Boulogne-Billancourt, all part of the scheme for Grand Paris. The project is based on understated and low profile structural elements that extend from the river through the parks and other public places. On the basis of this horizontal structure, we find a range of objects worked into the islandâ&#x20AC;&#x2122;s surroundings. The project embraces a number of functions and potential uses, each based on ideas of culture and innovation. It is this that brings Ile Seguin to life, opens it up to the whole population, helps it to drive Grand Paris and justifies the opening up of new public transport systems. The facets of the programme should ensure that it attracts a diverse range of people, taking advantage of the chance to meet among the islands various attractions. The Ile Seguin drives innovation in the way it creates new living conditions. You can choose to visit the island to view a new video installation, to spend time along the banks of the Seine or in the new parts of the city, to work in buildings in which the positive energy is palpable, or to enjoy unique cultural locations such as the bioclimatic gardens or just to gauge for yourself how the regeneration of the city has worked out.

90.

Part 2. Transformation of Lingotto and Feasibility analysis

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Lingotto FIAT: Past Present and Future

92.

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5. Culture-led renovation of Lingotto

5-1. History and Present of Lingotto: Landmark of Italian Industry Lingotto was a factory of FIAT which was an

icons of success in the past of Turin. Lingotto district in Via Nizza was a huge automobile factory constructed by Fiat. Built from 1916 and opened in 1923, the design by Matté

Trucco. It was the largest car factory in the world at that time. For its time, the Lingotto

building was avante-garde, influential and impressive—Le Corbusier called it “one of the most impressive sights in industry”, and “a guideline for town planning”.

When the Fiat factory opened for business the production line was originally designed to go

upward through the five stories. The five sto-

ry building featured a simple loop rooftop test

track with two banked turns that consumed a 1620 foot x 280 foot portion of rooftop. The de-

sign for the Lingotto Building was unusual in that it had five floors, with raw materials go-

ing in at the ground floor, and cars built on a line that went up through the building. At the

top, Giovanni Agnelli, grandfather of the late

94.

Gianni, built a rooftop racetrack to test some of the cars coming off the line.

Unlike any other automobile factory to date, the factory featured a spiral assembly line that moved up through the building and a concrete banked rooftop test track. The test

track’s banked turns were constructed from

an intricate series of concrete ribs in a con-

struction technique that had not been used frequently before Lingotto.

80 different models of car were produced

there in its lifetime, including the famous Fiat

Topolino of 1936. 1 It was the biggest automo-

bile factory Europe had ever seen and was the second largest in the world. Upon its completion Lingotto instantly became of a symbol

of Italy’s proud manufacturing history. Only Ford’s massive River Rouge Factory Complex

could compare in size and scale. Lingotto factory was one of the first buildings of its size to

rely heavily on reinforced concrete in the con-

struction process. But economy crisis in the

1970s, the factory became outmoded and the decision was made to finally close it in 1982. 1. http://en.wikipedia.org/wiki/Lingotto

.95

Settimo

Location of Lingotto 4.6km from Historical center 3.5 km from Porta Susa Station (6 stop by metro, about 10~15 min) 1km from Lingotto station (15 min on foot)

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Fig 5.1 Metro and Rail connection Between Torino City Ceter and Ligotto area

96.

The Lingotto itself is a symbol of citywide

But the Olympics made up for any setbacks

dustrial space steadily being repurposed. 28

came the broadcasting hub of the event, and

renewal, its 60-odd acres of abandoned in-

years after it closed, the plant led to much public debate about its future, and how to recover from industrial decline in general. The Lingotto factory in Torino you see here is the result of that expansion.2 An architectural competition was held, which was eventually

awarded to Renzo Piano, who envisioned an exciting public space for the city. The old fac-

tory was rebuilt into a modern complex, with concert halls, theatre, a convention centre,

shopping arcades and a prestigious hotel. The

partly. However again, after Lingotto benow the Olympic Village is being turned into somehow empty.

How ideas of the creative city are celebrated

and displayed in the specific case of Torino? Basically, the fundamental question is whether Torino, in terms of urban branding materials and policies, is really sketching the image

of a creative city in its attempt to escape its traditional image of a “one company town”

A key question for urban planning refers to

work was completed in 1989.

the possibility of promoting creative environ-

curves around two interventus by Renzo Pi-

order to attract people. Culture is used as a

Today the racetrack is still there, but it now ano. One is a squashed glass bubble used for conferences and exhibits. The other, an elongated, canopied glass shoe box, is home to the

Pinacoteca Giovanni and Marella Agnelli art

collection. (There are some marvellous pieces

ments and “cool city” images (Peck, 2005) in

development strategy in many European cit-

ies, a means to attract capital, to improve the image of the city, and to promote unity and co-operation.

here—Canalettos, Matisses, and a delicious

Architecture is arguably a more than ade-

reflect spending power more than discern-

museum. In fact, many do. When even visi-

Modigliani—but the whole group seems to

ment.) And a spiral ramps that finished cars were then sent down is still one of the architectural glories of Torino. Piano also designed a 2,200-seat auditorium inside the Lingotto complex, as well as two hotels: the luxe glass-and-steel Le Meridien Art & Tech and its plainer cousin, Le Meridien Lingotto.

quate reason for tourists to pay a visit to the

tors of the stern-looking Tate Modern “dis-

cuss the merits of the building rather than the images it contains’’ (Cork, 2003), architecture has come to represent a critical dimension of museum attendance.

The use of signature architecture to promote cultural place and in their slipstream the places in which they are located have taken flight

during the last decade. Key examples of this

5-2. Defining an Heritage of Lingotto The Lingotto’s transformation has not been without hiccups—the 8 Gallery, a U.S.-style

mall inaugurated in 2002, took years to fill up, and the Pathé multiplex has failed to lure

many Turinese from the theaters downtown. 2. http://jalopnik.com/5714628/fiats-roof-top-test-track

phenomenon are the Guggenheim Museum

in Bilbao designed by Frank Gehry and the Jewish Museum in Berlin designed by Daniel Liebeskind. But also smaller places have

made use of signature architecture to posi-

tion themselves as cultural destinations, such as the Auditorio de Tenerife in Santa Cruz de

.97

Tenerife, the Pinacoteca Giovanni e Marella

chapter. The museums concerned also engen-

Museum in Eindhoven.

places, yet what marks them out is the pro-

Agnelli in (Lingotto) Torino and the Van Abbe

All things considered, location, cultural ambition, high quality urban environment, Lingotto has potential possibility to attract businesses, visitors, creative, seduced by the attractive

unique building(ex FIAT factory). Also Olympic facilities and Project AVIO(Regione Piemonte) is under construction next to Lingotto

Fiere and also convenient public transportation. A project framework that includes par-

ticipation, association and partnership not to be built in an abstract way but using a project

design process where players can really exchange their points of view.

der the momentum for the rejuvenation of the

nounced reciprocity between the museum,

the architecture, and the place (landscape as well as host community).

Firstly, the museum building, though not

technologically or aesthetically innovative, offers a unique yet intimate setting to enhance the appreciation of the exhibits.

Secondly, while many of the exhibits inside the ‘museum’ are nurtured by the ‘place’ out-

side, the museum architecture is also firmly anchored in local context, thus able to mediate the two and reinforce the continuity from inside out.

It is thus necessary to adopt: A comprehensive approach looking at the city as a whole,

5-3. S.W.O.T. Analysis

a cross-cutting approach in order to integrate

SWOT analysis (Strengths - Weaknesses - Op-

based attitude by the fields of competence, to

tool. It combines the study of the strengths

improving the quality of life and promoting qualified players and overcome the sector-

renew the systems and styles of work; ‘creative city’, ‘quality”, ‘creative’, ‘tolerant’ and ‘exciting’ places.

The popularity of the works of authors such as [Florida, 2002] and [Landry and Bianchini,

1995] has given a particular emphasis to the idea of the “creative city”. The core theoretical

arguments at the basis of the “creative city approach” have been often criticized (for example, in terms of elitism, incongruent data, ambiguous implications in terms of policy: see, for example [Peck, 2005] and [Scott, 2006] ), but in any case, creativity has become a major

keyword in city-planning and urban-marketing policies around the world.

In line with the ever-growing interest in ‘re-

generation’, ‘museum’ and ‘architecture’, it was already demonstrated in the previous

98.

portunities - Threats) is a strategy analysis and weaknesses of an organisation, a geographical area, or a sector, with the study of

the opportunities and threats to their environment. As such, it is an useful tool in de-

velopment strategy formulation. SWOT can

be used as a basis for the analysis of business and environmental factors.

For strategy, this approach takes into account internal and external factors, with a view to

maximizing the potential of strengths and op-

portunities, while minimizing the impact of weaknesses and threats.

SWOT analysis is commonly used for ex ante evaluations. It supports the strategy planning

process. SWOT analysis can be used to identify possible strategic approaches. Thus, it may either be used for:

Analysis

Fig 5.2 Methodological framework for Lingotto

negative aspect

S(trengths)

W(eakness)

- Remarkable Architecture - Lingotto Fiere - Public Transportation

- not attractive to tourists - occupied by local and students - distance from city center

T(hreats)

- Headquater of Regine Piemonte - Renovation of Lingotto train station - Empty Olympic Village

- Distance from city center - Few attractions near by - Empty Olympic Village - Unsafe feeling of surroungdings during to night

external factor

O(opportunity)

Actions

Strategy

internal factor

Evaluation

positive aspect

Renovate Ligotto to Museum Regenerate unused Olympic Village Link Lingotto and Olympic village with cultural activities Cultural quater to vitalize of Lingotto Area

.99

Fig 5.3 Potential Factors of Development in Lingotto

100.

1. Ex-ante evaluations, in order to determine or

And, supposing to business quarter, trade

2. Mid-term evaluations, in order to check the

destination of some tourist with a competitive

check strategic approaches

relevance of the programmes under evaluation, and if required, their coherence

3. Ex-post evaluations, in order to check the relevance and coherence of the strategy or the programme

Taking an advantage of SWOT analysis, Lingotto FIAT has categorized to S.O.W.T. (Fig. ) to be convert as a Museum. What is strength

and what is weakness points to push forward project? Lingotto has big potential to grow as

a visitorâ&#x20AC;&#x2122;s spot. First, Ligotto itself has nice architectural feature. Not many tourist visit this

area but still it has standing visitors who visit

Lingotto Fiere. If building has more attractive facilities or space, it is perfectly possible

that the scheme will work. More over Headquarter building of Regione Piemonte will

support Lingotto area socio-economically. Workers and residents and potential visitors in Regione Piemonte quarter also potential

visitors to Lingotto Fiat. Formal Olympic Vil-

business, cultural quarter may be the first price of accommodation compared to one in city center. These opportunities, in the end are already ready to boost area and the city.

By the way, transformation of Lingotto FIAT

to Museum definitely has merit from project

and environmental opportunity but undeveloped surrounding area and unsafe feeling

that environment makes during the night is threat. So strategy should establish to tighten strengths up and cover weakness. In other

words, Lingotto Museum and Olympic Village have to be properly considered. The aim

of Lingotto area is museum-central cultural quarter. Throughout S.W.O.T analysis, strat-

egy for Lingotto area, main project is Museum transformation of Lingotto FIAT, and sub project Olympic village should planned as something to link and attract people along with

museum or provide additional activities and fun. Hotels and parks cultural market and even residential can be all kinds of strategy.

lage which is empty now, could be changed

The next chapter shows how can we renovate

regeneration. It doe s not have limitation to be

mote not only the area but also city of Torino

to any kinds of facilities to support Lingotto

transformed. It may a key factor to boost exterior development. Above all most strongest

strengths for Lingotto is Public transportation

system. Despite from 4km distance from city

Lingotto to effective cultural facility to pro-

as a tourist city and invest to support Lingotto museum would have powerful cultural impact on it.

center, metro connect Porta Nuova (main station) less than 15 minutes, and Ligotto train

station connect Porta susa, Porta Nuova sta-

tion and Genova, Alessandria and other small

cities. Even more Lingotto is under planned to be bridge station to connect existing station

and Regione Piemonte quarter. i.e. Olympic arch foot bridge and bridge station would link

all potential point as a one distract compactly.

.101

102.

• Lingotto FIAT (Present Function) A central role of the Lingotto station hired him since 1985, studying the feasibility of the project Renzo Piano track with two sociologists Giuseppe De Rita and Roberto Guiducci (plan included the whole area of Lingotto, with part of the General Market and Customs - beyond railroad - and areas of Italy and the Valentino ‘61). and will take it to the facts, and after the interventions of the 2006 Winter Olympics. The sizing provided by the Plan of feasibility for the transformation of the factory Lingotto is 284,817 square meters: 86,000 for an Events Centre, 100,000 for a center Innovation, 60,000 for the University. The numbers may change, but within the limits of prediction of the Plan and the transformation will take place in three phases as the study proponeva.4 The training function now covers 36,142 square meters (Polytechnic: 12,214; University: 14,668, 9,250 of quarters; Picture Gallery: 2,600; Tertiary: 125,800; office: 40,596; Business Center: 2,537; offices: 15,769; hotels: 28,457, auditoriums and theaters: 14,400; 8gallery: 20,941).

.103

Transformation

6. Transformation of Lingotto 6-1. Lingotto FIAT For Tourism: New proposal on Lingotto as a museum

As is demonstrated on chapter 4, superstar

space. Already many museum prove these

city. And also as it mentioned previous, su-

So most remarkable feature; rooftop track,

museum strongly affect economy reestablish perstar museum have their own architectural

feature and programs to catch peopleâ&#x20AC;&#x2122;s attention. To make Lingotto as a famous museum, most important thing is to show strengths

what building has. And the next step is well organized programs in stunning space which

is famous drawings and artistic works. Combination of art and architecture offers utmost

impact, when art display in the marvellous

104.

trends.

and spiral ramps should be the priority to develop the powers latent within one.

Torino roof track is now open to public only

who visit Pinacoteca Agnelli gallery. It sill has

original shape and track function, sometimes opens for special event to drive car on. But most of time it is empty with no use.

Although Renzo Piano won the competition Lingotto has change to current shape, when

this building opened competition for new

viewing gallery forms a helical spiral from

proposed. Many innovative idea out came,

Paintings are displayed along the walls of the

transformed 20 years ago, 20 projects were

meanwhile many architects suggested to re-

use roof top as a public space. Gae Aulenti

was the one of them, she suggested to use rooftop for public sport facility (Fig 6.1).

Rooftop is the most well-known feature of building and semantic importance as a FIAT’s last finished product arrived and started its first step. After transforming to museum,

two spiral ramp also would be change to ex-

hibition or open public area, and cars cannot

climb up to the top and then as she or other architects mentioned, rooftop finally can be opened to people. Not just only sports area

the main level up to the top of the building. spiral and also in exhibition space found at annex levels along the way. Most of the criti-

cism of the building has focused on the idea

that it overshadows the artworks displayed within, and that it is difficult to properly hang paintings in the shallow, windowless exhibition niches that surround the central spiral1.

This method is easy to develop through other case study which is already well organizes and

adopting a best practice reduces the

learning curve, but there is a danger of simple

imitating tried and tested formulate without

assessing what is relevant for the city its pe-

that Gae Aulenti suggested, commercial, din-

ing space or even playground for children. If

the area opens to the all public whoever visit

culiarities. As like Guggenheim NY, Lingotto can be shift to similar function.

only roof top during the sunny day except

Third one is four middle gardens inside

and they spent money their for beverage or

dinal 5 stories buildings and between them,

museum, the place can absorb people more

lunch or dinner. It affects to maintain of mu-

Lingotto has two 500m longitu-

there are four gardens. For exhibit huge

seum economically.

sculpture or furniture these spaces are very

People who work in Lingotto or Regione Pie-

useful. And especially Lingotto building is

monte headquarter or cultural market would

feel come to enjoy rooftop easily, and museum expect to do a role as a landmark for tourist and locals.

Second remarkable feature of Lingotto is spi-

long, so middle gardens provide fresh air to visitors. Here museum and visitors can

take advantage of protection of noise, safety especially for children, and also an ex-

hibit is protected stately. For opens spaces

ral ramp. It reminds Guggenheim Museum in

new York that is one of the 20th century’s most important architectural landmarks designed by Frank Lloyd Wright. For instance Lingotto spiral ramps have similarity. Internally, the

building.

provide outdoor exhibition, resting place. Usually museums are standardizing and regulating their use and public spaces; here children can play, elderly can stay there, down

there people can go gallery and library or 1. “Last Monument”, Time. November 2, 1959.

Fig 6.1 Idea of Fiat Rooftop as a sports facility by Gae Aulenti

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106.

Fig 6.2 Sculpture garden in MOMA New York

bookshop for shopping.

exhibitions with famous artists. A good exam-

constitution is important. The strategic ori-

excellent collection of works by Picasso, van

Of course along with architecture, museum entation emphasizes visitors’ demands; the

organization has to be decentralized into processes each devoted to particular segments of

visitors, to special exhibitions or support activities . 2

For optimize opportunity museum economy,

what kinds of strategy we can do? What knids of exhibition catch people’s attention?

ple is the Kunstmuseum Basel which has an Gogh and other expressionists and impres-

sionists as well as by Holbein but does not feature a painting which is known all over the world.

While this leads to an unequivocal competitive advantage over the minor museums because the superstar museums can offer superi-

or works, i.e. paintings by well-known artists, they are at the same time heavily constrained

by the superstar status. Thus, it would be

6-2. Museum Strategy : Benchmarking of superstar Museum3

quite inconceivable that the Rijksmuseum in Amsterdam decides not to show Rembrandt

any more, or the Prado no longer to show • TATE MODERN GALLERY • MOMA NEW YORK • GUGGENHEIM NEW YORK • GUGGENHEIM BILBAO There are many examples to bench mark over the world. The first option can be adopted

Lingotto FIAT as a museum is bench Marking

Velasquez. In consonance with the need to concentrate on major artists, the majority of newly established museums are devoted to

one such artist only. Examples would be the

Picasso museums in Paris, the van Gogh mu-

seum in Amsterdam, or the Miró Museum in Barcelona.

of other famous museum.

But there is a problem to benchmark famous

net, a large number of persons are now able to

amount of investment is needed. For instance

Due to low cost tourism, the media and intercompare museums with one another. People today are unwilling to substitute a museum of

lesser quality for one of higher quality. With

respect also to the arts, the world has become a global village. The way to redevelop Lin-

gotto can be use famous museums programs, and collaborate with them or similar exhibition design or atmosphere to use building.

Museums without such major paintings are faced with problems. They have no choice but

to exhibit the superstar artists in their collection, and moreover, have to organize special 2. 3.

Bruno S. Frey (1998)/Superstar Museums: An Economic Analysis Bruno S. Frey (1998)/Superstar Museums: An Economic Analysis

museum. To collect artists masterpiece, vast ‘Getty Museum’ in Los Angeles can attract

huge crowds due to its location and architec-

ture. But till recently it has lacked a superstar painting. Interestingly, the directorate has made a huge effort to acquire a world famous

painting. It paid the enormous sum of $35.2

million to buy Pontormo’s “Cosimo I”, one of the top ten prices ever paid at an auction. This is big pressure and burden to the museum.

So some museums collect a fund from dona-

tors for their management. But few museums succeed from this. Tate Modern art gallery is a representative.

Another process to satisfy investments to get

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extra earnings is making museum ‘total expe-

hungry and thirsty visitors, and to consider

ing.

groups. This includes aspects which so far

rience place’ to create people’s frequent visitFamous museum may be the organization of

temporary exhibitions involving the concep-

tion, loan, transport and insurance, display

of paintings, opening hours and entry fees, advertising, as well as access. Offering a “total experience” requires that museums provide for everything, not unlike entertainment

parks. The activities offered extend beyond cafés, restaurants and museum shops. Many superstar museums have already gone far in this direction. The Louvre, for example, opened a

commercial precinct called “Le Carrousel du

Louvre”. The floor space below Pei’s pyramid extends without interruption into a large un-

derground shopping mall. But the Carrousel offers more services than an average shopping mall; it also functions as a modern con-

their special tastes, as in the case of Japanese have often been considered to be outside the scope of museum activities such as travel arrangements to the museum, provision of suf-

ficient and secure parking spaces, adequate ticketing procedures including entry fees, and also amenities such as rest rooms, restaurants and shops. As such knowledge has to flow

within a museum, there are limits to the creation of independent units such as profit centers and to outsourcing.

For Lingotto regeneration, those museum examples are good examples but funding size

and level of awareness of museum are different compared to famous museum. Further

diversified analysis should be under review carefully in Torino’s situation.

vention center with modular rooms which can

be hired by the general public for symposia,

6-3. Museum Network: Railway network

and other events (see Eichberger, 1996). They

Another way to create unique museum, mu-

cal economy by the visitors’ expenditures on

Tour along the railway by train. And sharing

product launches, conferences, fashion shows constitute a sizable economic factor in the lo-

hotel accommodation, meals in restaurants, shopping and others.

Particular services that are important for mu-

seums such as museum restaurants, museum shops or amenities for infants and young

children as well as facility management (i.e. activities such as air conditioning, security, building maintenance) can be defined as sub-

processes. The process owner responsible for foreign tourist groups should ensure that

these sub-processes care for the demands of this particular process. For instance, the restaurant must have sufficient capacity to cater

for the sudden influx of a large number of

108.

seum network can be examined. Museum cultural collaboration each other. This trend

flows some cases of museums too. Tate foun-

dation establishing museum networks,Thus, for example, the London Tate Gallery has

spawned satellite museums at - Liverpool

and St. Ives and the Prado has started to lend

out. Liverpool and St. Ives and the Prado has started to lend out about one third of its holdings to museums in the provinces. Such

moves have the additional advantage of reducing the criticism against the capital city that it monopolizes art and is given too large a share of the financial support provided by the government.

Like examples above museum strategy for To-

Fig 6.3 Famous museum and gallery on famous architecture Source: Barttlet, School of Architecture , University College of London

rino can built with museum network strategy.

II), Vitra Design Museum (Frank Gehry/

as superstars find themselves in a new com-

Hadid), Landesgartenschau (Zaha Hadid),

Those museums which establish themselves petitive situation.

As shown in chapter 1, between Torino and

Lyon fast train connect in reduced time and railway spread out to other cities. In Lyon there are also several museums, those muse-

umâ&#x20AC;&#x2122;s exhibit can be transit by train to Lingotto FIAT. Geographically, Lingotto just located

near station so rail network strategy can be considered. Further, stretched out web-shape railway connect also famous architecture by

train. Figure shows architectural attractions near Italian broader. These attractions are

not only museums but those all point attract visitors who are interested in Architecture.

BMW Welt (Coop Himmelbau), Olympia Stadium (Frei Otto and Behnisch & Partner), Allianz Arena (Herzog & de Meuron), Schloss Neuschwanstein (Christian Jank for Ludwig

Herzog De Meuron) and Firestation (Zaha Goetheanum (Rudolf Steiner), Ronchamp chapel (Le Corbusier), La-Chaux de Fonds

(early house of Le Corbusier), Firminy chapel (Le Corbusier), La Tourette (Le Corbusier), Matterhorn and Mont Blanc (mountains in

the Swiss Alps), SS. Sindone (Francesco Borromini), Immacolata Concezione (Guarino

Guarini), Teatro Regio (Carlo Mollino), old Fiat factory / Lingotto (MattĂ¨ Trucco / Renzo

Piano), Palazzo del Lavoro (Pier Luigi Nervi),

and Portovenere / Liguria are located near Torino boader along railroad. Archtiecture-

minded people follow this route and reach

Lingotto. While there has always been a feel-

ing of tacit competition between the major museums and spot with respect to art, there is now a direct competition the way to develop Lingotto museum as a competitive attraction.

.109

Cultural Quater

110.

7. Fosting Cultural Quarters

7-1. Sustainable Development “Making the city” The matter is about trans-

forming with the city and not transforming the city, having clear with whom we act, with whom negotiate the rules for an inclusive use of public spaces to generate opportunities within the city. The historical cities are

born identifying spaces devoted to relations:

squares, markets, parks which thus are the el-

ements which formed the arena of residents’ relations.

Sustainable development as it relates to the preservation of cultural resources. This marks

assumed the obligation to maintain some sort of territorial balance also. Winter Olympic village and facilities locate in the Lingottocentric area, is behind the times compared to other

areas. The development of cultural quarters

provide a variety of opportunities which can facilitate events development. This relates to, for example, the creation of venues and city

spaces defined for cultural activities. However, these investments also bring a set of critical challenges which are often linked to strategic

development, cultural planning and the local authority approach.

As an institution, Tate Modern has been very

active, and arguably very successful, in its

outreach and inclusion activities. It plays a significant role in its locality, working closely

with other employers businesses and community organisations. It has been actively

involved in developing employment oppor-

tunities for local people in the Cultural Sector (Arts Training Trust), in tourism and marketing initiatives (Bankside Marketing Group)

and the development of the business sector (Better Bankside, Bankside Business)

7-2. Cultural Quarter The idea of the ‘cultural quarter’ has re-

mained popular into the 2000’s and has helped to produce the offshoot concept of the

cultural cluster since the 1990’s (Green, 1996; McCarthy, 2005; 2006). Cities with success-

ful cultural cluster developments will have

a competitive advantage over rivals as these networks provide socially embedded knowledge, identity-formation and experiences of sharing. Proximity to these channels of social

capital is good for collaborative work, which is characteristic of the creative industries.

.111

Cultural quarters or cultural clusters mean

vironmental psychology to semantics, or from

cultural uses related to cultural production

mon ground is the fact that the concept must

the areas that contain a high proportion of

or cultural consumption and further spatial concentration, is assumed to lead to ‘synergy

effects, agglomeration economics and minimization of amenity loss’ (McCarthy, 2006).

A mixture of cultural functions and activities, from theatre and the visual arts to pop music

and the new media, are grouped together in a great variety of spatial forms.

Cultural clustering strategies seem to use culture as urban regeneration sources, enhancing the interaction between cultural activities embedded in the urban infrastructure and a

broader field of urban dynamics and linked in value chains. While some clustering strategies are restricted to genuine artistic/cultural ac-

tivities, most of them also incorporate a great variety of consumption spaces such as res-

taurants, bars, clubs and 258 ˜ 279 health and fitness complexes (Zukin, 1998). However, there are growing concerns that these cultural clustering strategies could lead to a destruction or inflation of original artistic value and

to commercialization of the spaces (Zukin,

urban design to geography, an obvious combe understood metaphorically.1

Many cities around the world have come to

recognise the economic and social benefits that flow from the creative economy, and are

implementing aggressive urban policies to nurture and promote creative and cultural ac-

tivities (Chang, 2000; Miller, 2004; O’Connor and Xin, 2006; Peck, 2005). Creative and cultural activity enhances a city’s quality as a place, helps to revitalise neighbourhoods and

shapes a city’s identity in the face of increas-

ing competition for global talents (Rofe, 2004; Scott, 2006). Howkins (2001, 114-115) argues

that cultural richness and embedded diversi-

ty is a crucial element for the creative space. It is also about producing new forms and ways of interactive creative editing, working from the existing cultural fabric in the society.

The concept of the creative city grew out of cultural quarter policies, fusing with tourism and other ‘flagship projects’ (Artfield, 1999; McCarthy, 2005a; Mommaas, 2004).

1982). The development of cultural quarters

has provided a variety of opportunities which

• The models of cultural districts

lates to, for example, the creation of venues

- Industrial cultural district:

can facilitate events development. This reand city spaces defined for cultural activities.

However, these investments also bring a set of critical challenges which are often linked to

strategic development, cultural planning and the local authority approach.

Positive externalities, localized culture, traditions in ‘arts and crafts’, and ‘consumers’ cultural lock-in - Institutional cultural district: Property rights assignment and symbolic values - Museum cultural district: Network externalities and the search for optimal size - Metropolitan cultural district:

112.

7-3. Creative Economy, Cultural/Art Cluster and Gentrification

Communication technology, performing arts, leisure

The image of a city, which may range from en-

1. Hakhee Kim(2007) / The Creative Economy and Urban Art Clusters: Locational Characteristics of Art Galleries in Seoul/ Journal of the Korean Geographical Society vol. 42 No. 2, 2007 , p. 258~279

time industries and e-commerce

Fig 7.1 Plan of Regione Piemonte Project by Fuksas

In conclusion, the hypothesis of the conver-

gence of the cultural districts on the same institutional model will be supported.

The image of a city, in the sense of the gen-

eral meaning and idea of a place, is formed not only by visual images, but also by many

other elements. Contributions to the study

of urban images (and of the sense of place in general) highlight aspects relating to the sym-

bols embodied in the material components of the city (roads, monuments, and buildings) as well as to many immaterial components . 2

industrial districts: place, culture, and economy are symbiotic, particularly in some key cities (Scott, 2000). This is an important topic

for businesses and economic actors in general

in both the manufacturing and service economies; the more the specific cultural and economic identities of cities make their presence

known on the landscape, the more they can exploit monopoly powers of place.

2. The image of the creative city: Some reflections on urban branding in Turin - Alberto Vanolo, Cities , Volume 25, Issue 6, December 2008, Pages 370-382

7-4. Business Quarter: Regione Piemonte 2015 Regione Piemonte is a headquarter office building of Piemonte Region. It is expected to be done in 2015 by Italian Architect Massimiliano Fuksas.

City’s road map towards a new economy based on innovation, a high quality of life,

and attracting business and talent is becom-

ing more and more defined and distinctive. The City of Torino, in order to achieve a better urban structure and functional area have

agreed to build Regional headquarter building on Oval Olympic area which is on adjacent property area of RFI(Rete Ferroviaria

Italiana: Rail Line of Italy) and Lingotto Fiere. Italian Famous Architect, Massimiliano Fuksas launched his design project in 2007, now

it is under construction after several changes of plan.

The total transformation area is 371,350 m² includes the current FIAT Oval (2,500m²),

the offices of the Piedmont Region(95,000m²)

.113

Pic 7.2 Villagio Olimpico 2006

and new complex operations of 158,700 m²

quented by tourists.

activities, commercial and accommodation.

a sports stadium or convention center might

of which 50% for residential and 50% tertiary

Especially Headquarter office is designed for 42 stories of 209m, would be the tallest tower in Italy. It might be comparable to the Mont-

parnasse tower in Paris, France in height and

function and also as a landmark. This vision embraces he tourists city, even though it in-

cludes, perhaps problematically, office and residential space.

Sure tourists usually have no desire to visit financial center of government office; although,

as visits to Wall street demonstrate, some-

times they do. But the opposite is not the case: even those who work in finance or office have a few hours to off, and they may well want to go to restaurant and clubs that are also fre-

114.

In any particular town part of town, building,

detract from, rather than enhance, the neigh-

bourhood’s value as a office center. And vice versa building a neighbourhood of high-rise office buildings can create a dead ‘downtown’

that no tourist would want to visit. Consider quite low land and residence prices of Ligotto area, Regione Piemonte project gives vitality and downtown possibility on the area.

The leisure and entertainment attractions that

tourist cities used to entice pleasure seekers

can also appeal to bankers and consultants that work in the procedure-service industries associated with the global economy3.

3. Gerald E. Frug and David J. Barron. (2008)/ City bound : how states stifle urban innovation / New York ; London : Cornell University

7-5. Culture Impact on Olympic Village

or world famous artists. Ex-mercato would work for amateur artists and young poor artist to encourage their creativeness and boost

7-5-1. MOI ex-mercato: Cultural enterprise for local Artist and Craftsman Olympic village near Lingotto consisted of

Two parts. One was the commercial center during Olympic period and another part was athlete and international reporters and jour-

nalists. And now these facilities are under use. Commercial part was the Torino’s old vegeta-

ble market.

The site center’s around the restored historic structure of the 1934 Mercati Generali. The

even local people’s artistic activities.

The place would fill up local residents and young artist’s demands and affect local economy. The place at least will have some potential visitors from Lingotto Museum.

Tourists would come from Museum (Lin-

gotto) through foot bridge who already had modern, contemporary culture. Ex-Mercato

would directly connected to the Lingotto with

red-arch foot bridge, culturally link people enjoy culture.

city of Torino decide to build Olympic vil-

lage in the lingotto area, construction started

7-5-2. Olympic Village: Youth hostel & Residential

90,000 m² in one of the most enchanting areas

Between formal market and Lingotto train

cades of the original structure - bound by the

and journalists had launched. 52,000m² of res-

in September 2003, stretching over more than

of the city where, alongside the historical arMonuments and Fine Arts Office. The facilities built for the Games are accompanied by

other spaces where the Olympics became an occasion for meeting and communication and connected by a footbridge to Lingotto. After

Olympic Games Market was closed and emp-

ty till now. There has been several suggestion

to reuse modern facilities, still municipality did not decide how to use building.

For the cultural quarter, what can be suggest-

ed on building? What kind of function would be relate to Museum and cultural quarter? Empty Ex-market can be a cultural market as

they had active life before. Torino has raised up to the Italian contemporary art market.

This place can be the young and local artists and craft mans’ creative work place , in the same time art market also.

While Lingotto Museum is for masterpiece

station, Residences for international athletes idences develop along with 750 apartments and 40,000m² dedicated to the village services. Once the Games are over, the athletes’ Village will be reconverted into a permanent

residential complex, with houses for dwelling

purposes and university halls of residence, but still buildings are empty, now on a part of lot is converting to youth hostel for tourist Olympic Residences are consisting of 3 lots.

Lot 3 will open as a hostel soon, it would invigorate the economy in Ligotto along with

hotels over the railway (hotel in Lingotto, and

Regione Piemonte quarter). Because tourists

usually make activities even during the night and make commercial zone active for tourist demands.

Lot 4, Lot 5 still do not have plan for them.

Positive actions for them to increase local vitality and movement on the area, these apartments need to be reused on their business.

.115

Formal Olimpic Village (residentail) under-use buildings

Formal Olimpic Village (commercial) under-use buildings

Lingotto FIAT (shopping mall) now Regione Piemonte (business) expect 2013

Lingotto Fierre (trade center) now

Fig 7.3 Lingotto Cultural District (Quater)

Cultural District

116.

One proposal on them is rent for long-stay

state intervention in spatial development.

uct in the ex-mercato in a reasonable price.

ism spot in Torino, we can estimate tourist’s

tourist or artists who work and sell their prodAny process of urban regeneration contains the risk of gentrification, of the expulsion of

the most vulnerable population. We must

protect those residents providing tools to increase their quality of life, while maintaining the connections of proximity, working on the

development of local identity, memory, his-

tory. Working to settle the changes. These processes need mid to long range timing and time is not an independent variable.

This action connects to business in the cul-

tural market when apartments will used by artists who would works in market.

If artists can rent apartment in a reasonable

price it directly or indirectly affects to their

economic or artistic activities. Closely linked

work place, accommodation, modern museum

create synergy effect each other and

When cultural quarter settle itself as a tourroutes from Lingotto area to other potential

destination. Automobile Museum (rising star museum in Trino) is 10 minutes distance(by

walk) from Lingotto, Torino Ice-link is 20 minutes away (by walk) and Metro station and

Lingotto Train station and small park in front

of Market is also potential destination and tourist’s spot.

Ligotto cultural quarter’s arts organizations,

many of whom strive to be the public lure that draws consumers and spreads out to nearby.

Along the way to reach to another destination from Lingotto, city can form new business

market for their economy. Of course this new business should be attractive and exciting to visitors that give feeling to come.

Cultural sprawl has been a matter of policy

raise productivity and quality. In the end this

and planning ever since it has been acknowl-

on Lingotto area. Not only for artist apart-

opment. Bermondsey Street in London and

network will improve cultural development ments lend to local students or normal peo-

ple. It also create market environment. But still there would be a problem if students occupy residential, rent cannot be expensive. In that case we need to consider how to retrieve the investment.

Considering external factors and weight the

merit of proposal on Olympic village, area will have more positive effects that negative one.

edged as a particular pattern of spatial develMarais district in Paris show cultural sprawl with regards to museum nearby.

Bermondsey Street locates just to the south of cultural global spectacle in Bankside area;

close to Tate modern art gallery. Traditional

role of the area were warehousing, spices and leather works before. Since tate modern gal-

lery opened, heritage conservation attracted

growing community of artists, designers, cultural workers. Now this street is know for artists and designers’ place and latest site

visits (2006-8) show increasing evidence of

7-6. Cultural Sprawl There is no doubt cultural quarter changes surroundings and extends throughout.

Sprawl is one of the earliest motivations for

residential conversions along Bermondsey

Street. Together with ‘Tate Modern gallery’ Bermondsey Street contributed bankside cultural atmosphere.

Meanwhile ‘Le Maris’ district in Paris, ris-

.117

cases to show cultural district boost dead

area. Lingotto area is not actually developed, and even real estate price also prove this (refer

annex). Cultural quarter will definitely redevelop area and we can see from case studies.

The Old Truman Brewery in London is now internationally known as East London’s primary destination for the public and creative

businesses alike. Twelve years of sensitive re-

generation and investment has transformed over ten acres of vacant and derelict buildings into spectacular office, retail, leisure and

unique event space. This finely tuned mix of business and leisure has created a unique en-

vironment where tenants and visitors enjoy all the benefits of a protected yet vibrant community. The old Truman Brewery provides versatile and multipurpose event spaces benefitFig 7.4 Bermondsey Street, London borough of

Southwark: structural elements. ing cultural district recently. It was worker’s

dwellings and manual industry district in

17˜18th and Jurish town formed at the begin-

ning of 20th. It was not attractive place before

ting from heavy footfall and supported by a

fine infrastructure of independent shops, bars,

cafes and restaurants unparalleled in London.

The another case of cultural quarter is Telok Ayer area in Singapore. Chinatown (4 districts

west of the Singapore Central Business Dis-

trict) declined over 1970s. In the 1980s there

but many artists and designers opened their

unique shops and small galleries and restau-

rants entered in this area. Since the museum opened in December 1977, 25,000 visitors

visits the Centre Pompidou per day and has

been welcoming over and making it one of the most visited attractions in Paris. From Centre Pompidou (Art museum) to Marais district connect directly, visitors naturally follows unique atmosphere which are beautiful shops

and designers boutique. Now Centre Pompi-

dou and Marais district is ‘not to miss’place in Paris as like ‘one package’ cultural tour.

Apart from Museum relation, there are more

118.

Fig 7.5 Telok Ayer in its local and regional settings

Fig 7.6 Cultural Sprawl from Lingotto District

was an incursion of artists, current this area

much power cultural quarter would affect on

and lifestyle-consumption orientation in Sin-

will call tourists from city center.

is inspired with new media, culture, amenity gapores as the new cultural economy.

the area and how much interesting attractions

Cases above approximately shows future of

Next chapter, with feasibility analysis, project

siderably underrated as it has potential. Fig-

benefit. If project will get high cost benefit,

Lingotto cultural quarter. Now area is conure shows expected sprawl from Lingotto. Streets heading to automobile museum and

lingotto station may vitalize and can be devel-

will be evaluated investment value and costcultural quarter can have more possibility to impact on urban economic development.

oped to restaurant, bar, boutique as examples.

Museum-business-commercial quarter extend out side of quarter and stimulate ur-

ban invigoration. The influence is up to how

.119

120.

• Culture-led transformation Pic 1,4. Old Truman Brewary house in London, UK The former Brewery buildings, warehouses and yards were redeveloped by The Zeloof Partnership and now house over 250 businesses, ranging from cultural venues to art galleries, restaurants, and retail shops. Pic 2,3. Kesselhaus in München, Germany Formal boiler house located in Lilienthalallee renovated as unique flair, corporate events, fairs, concerts place. Pic 5,6,7. 798 Arts Zone, Dashanzi Art District in Beijing, China 50-year old decommissioned military factory buildings of unique architectural style has transformed by most of Beijing’s contemporary artist community. The district’s popularity has exploded with scores of galleries, lofts, publishing firms, design companies, high-end tailor shops, and cafés and fancy restaurants setting up. 8

Pic 8. Telok Ayer in Singapore, Singapore

.121

122.

Master Plan

8. Project Scheme Museum Renovation Project to promote city’s tourismto boost lagged district with culture-led regeneration. Through museum and cultural maket, residential and amenities in Regione Piemonte shift Lingotto zone as a one ‘Cultural Quater’, it will give ripple effect around formal Olympic area and Automobile museum. • Museum Transform Lingotto current shopping mall, and gallery - comtemporary cultural place • Ex-mercati, formal Olympic commercial center Cultural market and Artists work place, Children’s art school • Formal Olympic residential complex LOT 3 - Hostel LOT 4 - Rent for artists, craftmans, student LOT 5 - Selling • Formal Olympic residential complex Headquater office building and business, residential district by Massimiliano Fuksas • Lingotto train station Bridge station as a connection to Regione Piemonte business quater

.123

8-1. General Information: Lingotto FIAT + FIERE • Type Commercial • Size Main building 5 floors, Fiere 3 floors Covered Area: 16,000 m² Lingotto Fiere: 65,000 m² Outdoor Area : 62,000 m² Volume: 486.000 m³ • Functions Multi-functional Building-Commercial shops, Theater, Art Gallery, Congress, Student residence, Office, Fair Exhibition, Restaurants, hotels • Structure Concrete structure

• Project scheme FUNCTIONS

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

124.

TOTAL GROSS FLOOR AREA

Museum Office Parking Library Conference theater Commercial (restaurant) Bookshop Hotel outdoor exhibition garden Exhibition (fiere) Roof Park

(sq.m)

100,000.00 60,000.00 130,000.00 3,000.00 14,400.00 3,000.00 500.00 30,000.00 1,400.00 700.00 38,400.00 25,000.00

• MASTER PLAN

• 1ST FLOOR PLAN

• ROOF PLAN

Fig 8.1 PLANS of LINGOTTO

100

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â&#x20AC;˘ Architectiral Features of Lingotto Pic 1, 2, 3, 4. Lingotto Rooftop track Rooftop track was the last step of car production. Fiat cars tested on the rooftop. After renew to multi-functional shopping mall, for the special events rooftop has opened to public. Pic 5. Example how to develop Lingotto space as a museum Hans Holeinâ&#x20AC;&#x2122;s suggestion for industrial product Museum (Competition for Lingotto renovation, 1989) Pic 6,7. Lingotto Spiral Ramp (South Ramp, North Ramp) There are two ramps in Lingotto. one is in the south part and the other is in the north part. south ramp is connected to rooftrack, car can access to the up, north part is being used as a vertical connection.

126.

.127

Total experience in Lingotto: Unique Space and Inspiration 1. Roof top for Public Space

Lingotto Rooftop Lingotto Rooftop After Renzo Pianoâ&#x20AC;&#x2122;s renovation, still it keeps orgianl Rooftop is opened to the public, people can visit top car testing place shape. But now only used for spe- and see scenery it has. cial events for car or auto bike. Mainly it is under use situation.

2. Spiral Ramp For Unique Exhibition

Lingotto Spiral ramp in the north part spiral ramp is a part of shopping mall. it is used as mormal vertical core.

Lingotto spiral ramp in the south part It connects to the rooftop. So still for some special events car and bike reach to the top through this ramp. Which means this part has good potential to develop to make link for whole building function and facilities.

3. Open Space in the middle of the building for playground/ Outdoor Exhibition

Middle garden There are four outdoor gardens inside Lingotto. Now, it is used as resting place but each side of garden private hotels and student residences are locationg. The spaces donâ&#x20AC;&#x2122;t have special activites and remain as normal empty space.

128.

relaxing area for not only visitors but also local living near by and citizen

Tate Modern gallery (2006) Art Installation people can enjoy. This is a good example art and peole communicate each other in the museum

Open Air design There are four outdoor gardens inside Lingotto. Now, it is used as resting place but each side of garden private hotels and student residences are locationg. The spaces donâ&#x20AC;&#x2122;t have special activites and remain as normal empty space.

rooftop slide is already ready to give enjoyable place for the people.

overview of installation of collaborative sitespecific installation project by Belgian architect Sam De Vocht ar Tate modern gallery (2010)

Sculpture Garden There are four outdoor gardens inside Lingotto. Now, it is used as resting place but each side of garden private hotels and student residences are locationg. The spaces donâ&#x20AC;&#x2122;t have special activites and remain as normal empty space.

Maurizio Cattelan: All exhibition in Guggenheim NY(2011) A Hall which is well known in the middle of spiral ramp exhibition area gives a chance for huge-sized art works and gives impression from its space.

Playground for children There are four outdoor gardens inside Lingotto. Now, it is used as resting place but each side of garden private hotels and student residences are locationg. The spaces donâ&#x20AC;&#x2122;t have special activites and remain as normal empty space.

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EXAMPLES of STRATEGICAL SPACE

• Examples for design of Spiral Ramp

• Outdoor Exhibition / Resting Place

• Roof Parrk

130.

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8-2. MOI Ex-Mercato

• Type Formal Commercial and Offices during Winter Olympic 2006. • Size 1 floor Covered Area (LOT2): 26,266 m² • Functions No Use • Structure Concrete structure

• Project scheme FUNCTIONS

1 3 4 5 6

132.

Office Education exhibition Commercial Parking

TOTAL GROSS FLOOR AREA

(sq.m)

10,000.00 10,000.00 2,000.00 2,000.00 10,000.00

Fig 8.2 PLANS of MOI EXMERCATO

â&#x20AC;˘ Action on Moi ex-mercato: Cutural Space Empty formal olympic market regenerate to cultural market. Building was public vegetable market before and used as a international commercial center during the Olympic games. This public facility is under use now. City of Torino can lend this facility to boost cityâ&#x20AC;&#x2122;s aim to make Torino as a design and cultural city.

Amateur or young Artists can open their atelier and sell their product and local people or visitors who arrive Lingotto to satisfy their thirsty toward Art and design. This method contribute modern design and art boom; Torino recently is rising up as contemporary center in Itlay. And for this trends, city grows artist and create jobs. And as social-effect, action will vitalize on dead area last over 5 years, locals will have gathering point not only for the tourists.

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8-3. Residence in Olympic Village • Type Formal Temporary residences for athelets and journalists during Winter Olympic 2006. • Size 5 ~ 12 floors Overall site area : 31,230 m² (Lot 3: 10,870 m², Lot 4: 11,040 m², Lot 5: 10320 m²) Covered area : 11,538 m² (Lot 3: 4,717 m², Lot 4: 3,518 m², Lot 5: 3,303 m²) Gross building surface : 56,640 m² Volume: 187,000 m³ Units : 657 • Functions No Use

• Project scheme FUNCTIONS

1 3 4 5 6

134.

TOTAL GROSS FLOOR AREA

Hostel (LOT3) House renting (LOT4) House selling (LOT5) Commercial Parking

(sq.m)

9,105.00 10,205.00 9,083.00 3,837.00 3,210.00

â&#x20AC;˘ Action on olympic residential: Hostel and Residence (Renting and Selling) Olympic residential consists of 657 units and divided three lots. Whole village was designed to accommodate 2,492 visitors and have 618 single rooms and 937 double rooms together, Lot 3 is currently under transforming to hostel by municipality, it will accommodate tourists in 196 units and under shift to hostel inside.

Rest of 2 lots are still under considering, these 2 units can be shift to the social housing or student residence. Actually when it was built in 2006, municipality was thinking to reuse as a student residence. But additionally, assuming to transform Lingotto to the cultural area and cultural market function on Moi ex-mercati, these residential can be lent to artist who works in the same area as like New York Soho or Marais district in Paris. There are many cases artist gallery and their housing create new cultural zone. What is better is that already village was designed colorful modern design and all apartments have different shapes and faĂ§ades. Also location is very closed to public transportation, and will have better transportation line later. Residents are expected to have enough demands. It seems area is ready to shift to new cultural district. if municipality rent or sell empty apartments it brings income to the city and workers so student get a merit from their residence in active and vitalized environment.

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8-4. Piemonte Headquateron Ex-AVIO • Type Offices, Residences, Parks (2015) • Size 42 floors (Regione Piemonte), Various Overall site area : 371,350m² Headquater of Regione Piemonte: 65,000 m², Volume: 486,000 m³ (42 floors) Residential + Service: 158,700 m² AVIO Oval: 20,000 m² • Functions Office for headquater of Regional Piemonte, Offices, Residential, Parks • Structure

Figure. Regional Piemonte

136.

â&#x20AC;˘ Advantage from Regione Piemonte: Urban and Zone development, Project covers business, commercial, residential development. The tallest building in Italy will change the concept of the poor image of the area. And many daily commuters and flows according to business activity will affect to potential visitors for museum and cultural quarter.

.137

8-5. Connection over Railway- Lingotto Train Station, Arch Foot Bridge

• Type Public Train Station, Bridge between Lingotto shopping mall and Ex-Mercati • Size Station: Under bridge station Bridge: 235m

contemplaton

for

• Functions Station, Bridge Connection between cutour district • Structure Bridge: Steel Structure

• Project scheme FUNCTIONS

Lingotto Station

TOTAL GROSS FLOOR AREA

undecided

Lingotto station is still under discussion, scheme has not decided yet but it would be bridge struction over rail way as a connection between Regione Piemonte and train station.

138.

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Feasibility Analysis

Lingotto museum and culture-led regeneration project is challeging project

to city. It requires huge sums of money to finance, as far as city invests heavily into the project, the project should be investigated economically and financially to evaluate potential it has. Feasibility analysis help to discriminate investment value of a project expect and expect cost flows of the project. This chapter illustrate how to determine â&#x20AC;&#x2DC;Real Estate Investmentâ&#x20AC;&#x2122;and explain tools to evaluate project value and asset value.

9. The financial and economic analysis

9-1. Feature of the Project of Museum

9-2. Financial analysis

The project implies the purchase of the land,

The main purpose of the financial analysis is

to mueum mainly. Moreover, to get a profit

late suitable net return indicators.

the transform of main buildings, denovate for sustainalbe museum, Parts of spaces rent

For Lingotto project (Museum), I refer fiancial

offices (15%) and hotels (7.5%), parking lot

and ecomnomic analysis from EU CBA guide-

area, 10%) with some renovation.

phasis is placed on two financial indicators:

(30%) and keeping the Fiere (Trade exhibition

Museum consist of exhibition area, office,

commercial, service, park, library, conference room. So the project can be regards as a in-

come-producing property from leasing, rent and self managing business.

140.

to use the project cash flow forecasts to calcu-

line 2008. In EU CBA Guide a particular em-

the Financial Net Present Value (FNPV) and the Financial Internal Rate of Return (FRR),

respectively in terms of return on the investment cost, FNPV(C) and FRR(C), and return on national capital, FNPV(K) and FRR(K).

Fig 9.1 Structure of project appraisal Source: Guide to COST-BENEFIT ANALYSIS of investment project by EUROPEAN COMMISSION

.141

Table 9.1 Financial analysis of Lingotto Museum and facilities

by Cost and Revenue EXCEL sheet

142.

Fig 9.2 Structure of financial analysis Source: Guide to COST-BENEFIT ANALYSIS of investment projects 2003

While the CBA encompasses more than just

costs and related interest, and revenues for

project, most of project data on costs and ben-

It gives the rate of return of the project con-

the consideration of the financial returns of a

efits is provided by financial analysis. This

analysis provides the examiner with essen-

tial information on inputs and outputs, their prices and the overall timing structure of revenues and expenditures.

The financial analysis is made up of a series

of tables that collect the financial flows of the investment, broken down by total investment, operating costs and revenue, sources of

the inflows. It does not consider the EU grant.

sidering its financial burden, regardless its in-

vestment costs. In order to correctly draw up, careful attention must be paid to the following elements:

• time horizon • the determination of total costs • revenues generated by the project

financing and cash flow analysis for financial

• the residual value of the investment

The financial analysis should finally result in

• verification of financial sustainability

sustainability.

• adjustment for inflation;

summarising the cash flows:

• selection of the appropriate discount rate;

one for investment returns (capacity of operating net revenues to sustain the investment

costs) regardless of the way in which they are financed; the other for the calculation of the

returns on equity capital where in the outflows there are the own equity of the private

investor (when it is paid up), the national contribution at three levels (local, regional and central), the financial loans at the time

they are paid back, in addition to operating

• determination of the main performance indicators • determination of the co-financing rate. The financial analysis should be carried out through subsequent, interlinked, accounts 1. total investment costs 2. total operating costs and revenues 3. financial return on investment cost:

.143

Fig 9.3 Project cost spread over the years Source: Guide to COST-BENEFIT ANALYSIS of investment project by EUROPEAN COMMISSION

FNPV(C) and FRR(C) 4. sources of financing 5. financial sustainability 6. financial return on the national capital: FNPV(K) and FRR(K). The financial analysis of Lingotto Project was

The construction will commence in the Three year, in which the consturction is assumed to be at 45% at the first year and second year

30% works will progress on, and the last year

25% work will be done. So total investment cost is the sum of costs during this period.

conducted using CR analysis and form. The

9-2-1. Determining Total Costs

years. Project cost is sum of three years costs

The first logical step in the financial analysis

time horizon for evaluating the project is 3

(Fig 9.3). The time horizon for the analysis is

assumed to be 30 years financial discount rate (WACC) is 5.95%.

The cost of the investment includes the renovation of the Lingotto FIAT, but Fiere and conference room, heliport wil be kept as those ex-

ist. The cost of such an investment, excluding VAT (23%, Italian regulation) , has been sub-

divided into homogeneous categories, whose values have been attributed to the first three periods, on the basis of the time programme for the implementation of the project.

144.

is the estimation of how large the total investment cost will be. The investment outlays

can be planned for several initial years and

some non-routine maintenance or replacement costs in more distant years. Thus we

need to define a time horizon. By time horizon, we mean the maximum number of years

for which forecasts are provided. Forecasts

regarding the future of the project should be

formulated for a period appropriate to its economically useful life and long enough to encompass its likely mid-to-long term impact.

Although the investment horizon is often in-

to consider are the incremental cash disburse-

assume reaching a point in the future when

periods to acquire the various types of fixed

definite, in project analysis it is convenient to all the assets and all the liabilities are virtually liquidated simultaneously.

Conceptually, it is at that point that one can cost up the accounts and verify whether the

investment was a success. This procedure entails choosing a particular time horizon. The

choice of time horizon may have an extremely important effect on the results of the appraisal

process and may also affect the determination of the EU co-financing rate.

For the Lingotto Museum(Cultural Space) project 30 years; for productive investments, and again indicatively, it is about 10 years.

Nevertheless, the time horizon should not be so long as to exceed the economically useful

life of the project. This problem may be resolved by using a standard grid, differentiated by sector and based on some internationally acceptedpractices, in which reference time horizons are provided, which can be applied

to the type of investment being examined.

ments encountered in the single accounting

assets: land, buildings, machinery, etc. The residual value of the fixed investment must

be included within the fixed investment costs account for the end-year with opposite sign

(negative if the others are positive), because it is considered as an inflow.

In this project, building and land are already

exisiting and owned by FIAT group, so fixed investment cost are not included. Museum building will be renewed to new function, so construction cost is needed.

Construction cost by functions and sum costs of construction is 369,735,033.97 euro. Each project costs calculated by Cost & Revenue

analysis (next chapter explain CR analysis) and each fuctional typology costs refer italian

national egineer association rules (ordine degli Ingeneri della Provincia di Milano, Oneri

di urbanizzazione e costi di construzione1, see Annex).

9-2-2-2. START-UP COST According to a standard definition, all those

costs that are incurred in view of the effects

9-2-2. Total Investment Costs

that will accrue beyond the financial period in which the relative disbursements were made

• Fixed investments • Start-up costs • The changes in working capital over the entire time horizon.

are of an investment nature. Although the tax rules do not always allow for the capitaliza-

tion of these costs, they should be included in the total investment costs. These include several start-up costs, such as: preparatory studies (including the feasibility study itself), costs

9-2-2-1. FIXED INVESTMENTS Fixed investments are often, but not always, the largest component of total investment

costs. The information relating to fixed investments will be taken from the feasibility study

data on localisation and technology. The data

incurred in the implementation phase, con-

tracts for the use of some consulting services, training expenses, research and development, issue of shares and so on.

1. http://www.architettiroma.it/tariffa/ , http://www.comune.torino.it/ ediliziaprivata/atti/tariffe.shtml

.145

Fig 9.4 The project investment cost includes any one-off pre-production expenses Source: Guide to COST-BENEFIT ANALYSIS of investment project by EUROPEAN COMMISSION

9-2-2-3 CHANGES IN WORKING CAPITAL In some types of projects, particularly in the

productive sector, the initial investment in working capital is sizeable. Net working capital is defined as the difference between current assets and current liabilities. Its increase over

one period of time corresponds to an investment outlay. The estimation depends on the

analysis of demand for credit from customers or other users of the service, on technological

and business information on average stocks needed, on information on the credit usually offered by suppliers and on the assumption about the cash needed over time. Current assets include: • receivables; • stocks at every stage of the production process; • cash and other net short term liquidity. Current liabilities include mainly accounts

payable to suppliers (but do not include mid

146.

to long term debts to suppliers of machinery).

It should be observed that, like current assets

and current liabilities, the net working capital

is by nature a fund: in order to be transformed into a flow, only the year-on-year increments should be considered.

These increments will obviously be sizeable at

the beginning, when stocks and other compo-

nents need to be built-up for the first time, and subsequently they will stabilize or they may even diminish: in which case there will, respectively, be no further investments in working capital or there will be dis-investments.

9-2-3. Total operating costs and revenues The second step in financial analysis is the calculation of the total operating costs and revenues (if any).

9-2-3-1. OPERATING COSTs

Table 9.2 Example of Members of Lingotto Museum and

wage costs

Table 9.3 Example of Operating costs of Lingotto Museum

The operating costs comprise all the data on

the calculation of operating costs, all items

of goods and services, which are not of an

expenditure must be excluded, even if they

the disbursements foreseen for the purchase investment nature since they are consumed within each accounting period. The operating cost data can be organised in a table that

includes:

that do not give rise to an effective monetary

are items normally included in company ac-

counting (Balance Sheet and Net Income Statement). In particular, the following items are to be excluded, as they are not coherent

with the discounted cash flow method. In CR

• the direct production costs (consumption of ma-

analysis it substitute WACC (Weighted Aver-

terials and services, personnel, maintenance, gen-

age Cost of Capital)

eral production costs); • administrative and general expenditures; • sales and distribution expenditures. Table 9.2 and 9.3 shows examples of operating cost. Referring to Museums in Torino and

size of expected Musum of Lingotto, number

of staffs and wages are on the similar level of other museums2. These components together comprise the bulk of the operating costs. In

2. Museo delle antichità egizie, Museo del cinema, Museo dell’automobile, GAM, MAO

Ke - capital cost (rate of normal return required from the investors) Kd - Debt cost (rate of normal retur required form the creditor) E - Equity rate D -Debt rate T - Tax rate

.147

Interest payments follow a different course

9-2-4. Financial return on investment

sis: they are not included in the calculation of

Having collected the data on investment costs,

but are included in the table for the analysis

step in the financial analysis is the evaluation

according to the type of subsequent analythe performance of the investment FNPV(C),

of the return on capital FNPV(K). This will be discussed below. Moreover, capital, in-

come or other direct taxes are included only in the financial sustainability table (as an outflow) and not considered for the calculation

of FNPV(C) and FNPV(K), which should be

calculated before deductions. The rationale is to avoid the complexity and variability across

time and countries of capital income tax rules. 9-2-3-2. REVENUES Generated by the Project Some projects may generate their own revenue from the sale of goods and services.

operating costs and revenues, the next logical of the financial return on investment.. The in-

dicators needed for testing the project’s finan-

cial performance are:

• the financial net present value of the project (FNPV), and

• the financial internal rate of return (FRR).

The financial net present value is defined as

the sum that results when the expected investment and operating costs of the project

(suitably discounted) are deducted from the discounted value of the expected revenues:

For instance, inside of museum there must

be restaurant or book shops and bars to support visitors needs. And apart from museum,

there are office leasing, long-term renting for hotels, and public parking lot, and restaurant

and bars. These kind of service facilities create additional profits so should be analyzed. This revenue will be determined by the forecasts of

the quantities of services provided and by the relative prices and the financial analysis with operating revenue. .The following items are

Where St is the balance of cash flow at time t (net cash flow, Tables 2.5 and 2.8) and at is the

financial discount factor chosen for discounting at time t.

The financial internal rate of return is defined as the discount rate that produces a zero FNPV:

usually not to be included in the calculation of future revenues:

• Costs and benefits should be net of VAT. Other indirect taxes should be included only if they are charged to the investor. • any other subsidies (transfers from other authorities, etc.); About evaluation of this revenue, next chapter will put flesh on Cost and Revenue analysis in moredetail.

148.

The calculation of the financial return on in-

vestment (Table 9.3) measures the capacity of the net revenues to remunerate the investment cost.

More specifically, the financial net present

value, FNPV(C), and the financial rate of re-

turn, FRR(C), on the total investment cost, measure the performance of the investment

independently of the sources or methods of financing. The FNPV is expressed in money

Table 9.4 Example of Cash Flows of Project

.149

terms (Euro), and depends on the scale of the project. The second indicator is a pure number, and is scale-invariant. The preferred indi-

cator should usually be the net present value because the rate of return may be somewhat

• investment costs, • operating costs, • reimbursement of loans and interest paid, taxes, • other disbursements (e.g. dividends, retirement

misleading and contains no useful informa-

bonus, etc.).

9-2-5. Financial sustainability

9-2-6. Financial return on capital

Having determined the investment costs, the

The final step is the appraisal of the financial

of finance, it is now possible and helpful to

this calculation is to look into the project per-

ity. A project is financially sustainable when it

public and possibly private entities. These en-

in the future. The crucial issue here is the tim-

potential project net returns.

tion about the ‘value’ of a project

operating revenues and costs and the sources

return on capital (Table 2.8). The objective of

determine the project’s financial sustainabil-

formance from the perspective of the assisted

does not incur the risk of running out of cash

tities will for sure enjoy an increase in their

ing of cash proceeds and payments. Project promoters should show how over the project

time horizon, sources of financing (including

9-3. Economic analysis

consistently match disbursements year-by-

• micro economic analysis

revenues and any kind of cash transfers) will

year. Sustainability occurs if the net flow of cumulated generated cash flow is positive for all

the years considered. The difference between incoming and outgoing flows will show the deficit or surplus that will be accumulated each year. The incoming flows include:

• any possible revenues for the sale of goods and services; • the net cash from the management of financial resources. Loan is here an inflow and it is treated as a financial resource coming from third parties.

The amount shown is a rough indicative esti-

mation. The dynamics of the incoming flows are measured against the outgoing flows. These are related to:

• macro economic analysis The economic analysis appraises the project contribution to the economic welfare of the region or country. It is made on behalf of the

whole society (region or country) instead of

just the owner of the infrastructure like in the

financial analysis. The economic analysis, by mean of the definition of appropriate conversion factors for each of the inflow or outflow items, which includes benefits and social costs

not considered by the financial analysis. It

consists of the transformation of market prices used in the financial analysis into accounting

prices that amend prices distorted by market imperfections, and of the consideration of externalities leading to benefits and social costs unconsidered by the financial analysis as they

do not generate actual money expenditures or

150.

Table 9.5 Financial

sustainability

.151

income (for example environmental impacts

entire economy works, you need to have an

sible by attribution to each of the inflow or

and macro levels5.

or redistributive effects). This becomes posoutflow items of an ad-hoc conversion factor

(see below) to change market prices into accounting prices. International practice has as-

Environmental impacts

output classes, others require specific factors

mental impact should be properly described

sumed standardised factors for some input/ to be defined case by case.

The economic analysis can be seen in the

framework of ‘Microeconomics’ and ‘Macro economics’.

Microeconomics looks at the smaller picture

and focuses more on basic theories of supply

and demand and how individual businesses decide how much of something to produce

and how much to charge for it. People who have any desire to start their own business or who want to learn the rationale behind the

pricing of particular products and services would be more interested in this area . 3

For example, on Microeconomics view, Lin-

gotto museum will generally raise quality of the zone and total yields an interesting pic-

ture of interrelations beween residential, labor market, services, and touristsm and so on . 4

Macroeconomics, on the other hand, looks at the big picture (hence “macro”). It focuses on the national economy as a whole and pro-

vides a basic knowledge of how things work in the business world. For example, people

who study this branch of economics would be able to interpret the latest Gross Domestic Product figures or explain why a 6% rate of

unemployment is not necessarily a bad thing.

Thus, for an overall perspective of how the 3. http://en.wikipedia.org/wiki/Microeconomics 4. Peter Nijkamp(2000) / Handbook of Regional and Urban Economics: Regional economics, Volume 1

152.

understanding of economics at both the micro

In the context of project analysis, the environand appraised, possibly with recourse to state

of the art qualitative-quantitative methods. Multicriteria analysis is often useful in this

framework. A discussion of the assessment of environmental impact goes beyond the scope of this Guide, but CBA and environmental im-

pact analysis raise similar issues. They should be considered in parallel and, whenever pos-

sible should be integrated: this would imply

giving, if possible, a conventional accounting value to environmental costs.

These may be very crude estimates: however they may capture at least the most relevant

environmental costs. For a more detailed discussion on methodologies for the monetisation of environmental impacts see annex E.

Accounting value of public sector owned capital assets Many projects in the public sec-

tor use capital assets and land, which may be stateowned or purchased from the general Government budget. Capital assets, includ-

ing land, buildings, machinery and natural resources should be valued at their opportunity cost and not at their historical or official accounting value.

This has to be done whenever there are alter-

native options in the use of an asset, and even if it is already owned by the public sector. If

there is no related option value, past expenditures or irrevocable commitments of public funds are not social costs to be considered in the appraisal of new projects. 5. http://www.investopedia.com/

9-4. Costs analysis and appraisal

struction costs. These refer to the production and carry out activities of goods.

For this chapter, for funancial analysis as we

see above, project cost and revenue evalua-

tion will be figured out. Lingotto Museum have several functions more except museum.

Leasing office and renting long-term hotel and convertion center, restaurant and bars

2.Market values referring to the exchange activities of goods in a market. - Actual value - Potential value- susceptibility - Normal value - ordinarity

furthermore as a part of profit business mu-

- Complementary value

evaluate all these functions, we follow next

3.Price values- D meets S

seum charge admission to parking lot. To procedures.

Especially for evaluating Lingotto Museum,

there are several tools that enable an evalua-

9-4-1. Principles of Cadastral Surveying

tor to understand what is the level of costs for

a building. Some of the most important tools The Cadastral Survey is a subject that aims

are:

through different measures:

• Building costs estimates

to evaluate some goods (Ernesto Marenghi)

• Price lists 1. Physical measures: quality and quantity of goods – First part of the research

• Building typology analysis

– Synthetic methods

9-4-2. Building costs Estimates 2. Economicalmeasures: values – Goods without a market price – Synthetic and analytic methods Its aim is referred to the application of the

economical justice. The Cadastral Survey is a subjectthat was created to reply to the need of

controlling the economical unequal distribu-

tion referring to ancient cadastres (preceding the geometrical formulation of the registered goods) and it identifies different types of val-

The building costs estimates are the tools

through which it is possible to define the construction costs of buildings and other works:

• estimative: data is used to identify the value of goods that do not have a market price • preemptive: before the construction activities • final: at the end of the construction activities From these tools, Lingotto Museum build-

ues for goods6:

ing costs estimates with final tools which can

1. Costs values may broadly say production costs,

Data to estimate as a Museum and cultural

carrying out construction costs, technical con-

assume museum activity after construction. multi space, market price in the similar situ-

ation will apply to calculate. Market price is 6. Sergio Mattia and Roberta Bianchi (editedby)“Forma e struttura di catastiantichi”,1994

effectively linked to the estimate subjects. Es-

.153

Fig 9.5 Structure of economic analysis. Source: our adaptation from: Saerbeck, Economic appraisal of projects. Guidelines for a simplified cost benefit analysis. [1990].

154.

timation methods and procedures is possible to determine the value of Museum and office

2. Unit prices list:

and hotel and so on. The building costs esti-

– definition of unit prices for works

mates use the estimation principles:

– quantity of every production factor necessary to

• ordinarity: The estimation of the value of

– application of the unit prices to the referring

goods must be appraised on the basis of the most common features of goods themselves –Physical features (Renewed Museum) –Economical features –Management (Self management & Renting) • objectivity problems: the constant reference to the ordinarity principle makes estimations objectives, as the value given is then the value level that the most of evaluators would give to the same good. The building costs estimates principal elements • expenses features description • measure units and quantity of works (sm,cm,lm) • unit price(€/sm,$/cm,forfeit,andsoon) • total amount for every expense voice, as the product of the unit price and the total quantity • construction costs: the sum of all the expenses voices

the realization of every complete work quantity Following by above tools, ballpark figure of Lingotto Museum has estimated for construction cost. Unit construction fees refer market prices in real estate price in surrounding area (Lingotto quater).

9-4-3. Unit prices analysis Unit prices should be determined Synthetical-

ly from prices lists (Chamber of Commerce, Professionals associations) and analytically

through the prices analysis. Prices lists define average prices referring to ordinary executive conditions:

1. Building site width 2. Accessibility 3. Organization the prices lists are usually divided into two parts: 1. prices lists for economy works 2. prices lists for measured works Unit Principle: • dividing works into the production factors

The principal documents of the building costs estimates are:

1. Building estimation and measures: – construction elements identification, works with independent technical and economical features – elements quantity in the referring measure units

(workforce, raw materials, capital, and so on) • identifying the quantities of every factor with the referring unit prices It is necessary to refer to the unit prices analysis: • in extra ordinary conditions • with innovative materials and technologies Unit

.155

Fig 9.6 Procedure of Synthetic and comparative method for Market value Source: Prof. Alessamdra Pandolfi, Politecnico di Milano

Production factors took into consideration in

9-4-3-2. ANALYTIC AND RECONSTRUCTIVE

the real estate markets are usually:

METHOD

• workforce (technical costs)

Every work is analyzed referring to the pos-

sible elementary entries in which it is divided.

• raw materials (technical costs) • rents and transportation (technical costs) • general expenses and enterprise profits (e.g.

After the identification there is the elementary

costs analysis, that at the end takes to the unit

cost identification for the following semi-ana-

26,6%of the technical costs)

lytic procedures, usually “built” by construction enterprises and not anymore got from 9-4-3-1. SYNTHETIC AND

COMPARATIVE

METHOD

general prices lists.

Semi-analytic procedure (also called “through the evaluation of the different categories of

Synthetic and comparative method usually

works entries”): it is necessary to determine

ized through the comparison or referred to

of all the possible work categories (excava-

sent the final product (€/sm,€/cm,€/sleep-

equipments, and so on)that are used to real-

liminary design stage the purpose is to obtain

it is necessary to use satisfactory and suitable

called also “indirect comparison”. It is real-

the final cost through the synthetic analys is

the use of parameters that are able to repre-

tions, foundations, walls, floors, technical

ing accommodation, and so on). In the pre-

ize the building in project. Even in this case

a preliminary estimate, that could be obtained

comparison parameters.

through the comparison with construction

costs of similar buildings. The procedure is based on the comparison of the works to be

9-4-3-3. TYPOLOGICAL PRICE LISTS

works already built (whose cost is known).

Prices lists could be of two different kindspric-

end of which it is possible to obtain aprelimi-

unit prices referring to a group of goods and

works completion

termine values of goods and services.

realized (whose cost is unknown)with similar

156.

The procedure is divided in four phases at the

es. one is analytic and systematic collection of

nary estimate of the necessary costs for the

services, the other is list of prices fixed to de-

Table 9.6 Example of Buiding costs estimation

Price:

→ macro-entries

for aggregated works

• value of a service or good in monetary terms • [in figurative sense] an exchange factor

9-4-4. Market Analysis

• [in figurative sense] estimation, value, bill • General prices lists

1.Supply and Demand Analysis in the local MKT

• Specific prices lists:

•Submarkets and secondary submarkets

• technical equipments

(Residential, Office, Industrial, Retail/Commercial/

• safety

Land/Green area)

• technological parts

•Typology analysis

• StiMus (new buildings, infrastructures, total or

•Absorption period

partial renovations, divided for Italy parts- North, Center and South): software PriMus-DCF

2.Income Potential and Real Estate Assets (Va-

examples are available on internet (www.edil-

cancy)

portale.com)

3.Costs appraisal, Values appraisal and Prices asAvailable prices lists:

sessment

1. Public Institutions (Ministries, Regions, Provinces, Townships, etc…)

4.Risk Analysis

2. Chamber of Commerce and similar associations 3. Construction materials producers 4. Research Institutions

9-4-4-1. SUPPLY AND DEMAND ANALYSIS

In Italy the Legislative decree of the 12th

1. rents determined in the property market are

blici relativia lavori, servizi e forniture in attu-

in the asset market

CE”(G.U.n.100 del 2 maggio 2006)

construction, that determines for its part the

Building Typology Analysis

market

April 2006, n.163, “Codice dei contratti pub-

converted into asset prices through the action

azione delle direttive 2004/17/CEe2004/18/

2. asset prices determine the level of new

• Functions and uses • Quality level • Typologies

amount of stock available in the property

3. an increase in the demand for new assets in the property market shifts out the demand curve inthe quadrant of the

“Property MKT: rentdetermination”, increas-

.157

Table 9.7 Example Costs Estimation by function

ingrents, which, inturn, increases asset prices, construction, and the stock

4. a decrease in the capitalization rate in the

asset market increases the demand for real estate assets, which increases asset prices

â&#x2020;&#x2019;

increased asset prices in turn bring forth more

construction, increasing the stock and decreasing rents

5. an increase in construction costs decreases

construction levels, which,i nturn, decreases the stock, driving up both rents and asset prices

158.

.159

Comparison of Museum CR analysis 10-1. Preliminary optional Estimations To analyze cash flows for Lingotto project 5

counted cash flow (DCF) analysis, and is a

enue) excel sheet.

money to appraise long-term projects. NPV

options are evaluated with CR (Cost and RevIn finance, the net present value (NPV) of a

time series of cash flows, both incoming and outgoing, is defined as the sum of the present

values (PVâ&#x20AC;&#x2122;s) of the individual cash flows of the same entity. NPV is a central tool in dis-

HP 1 : Renting: 50% Self-management: 50% No Aid HP 2 : Renting: 25% Self-management: 75% No Aid

HP 3 : Renting: 18% Self-management: 82% No Aid HP 4 : Renting: 18% Self-management: 82% Local Aid on library HP 5 : Renting: 50% Self-management: 50% No Aid

160.

standard method for using the time value of

is an indicator of how much value an investment or project adds to the firm. With a project, if is a positive value, the project is in the

status of positive cash inflow in the time. If is a negative value, the project is in the status of

discounted cash outflow in the time. Appro-

year project will be complished. So forth year

could be accepted.

As it show below, from five options three op-

priately risked projects with a positive NPV

To estimate Lingottoâ&#x20AC;&#x2122;s projectâ&#x20AC;&#x2122;s investment value, time horizon is 30 years, and tax rate is 27.5%.

Lingotto construction will proceed 45% at

first year and 30% in second year, and third

is the first operation year to make profit. tions show negative NPV.

Through preliminary financial analysis, we can reach to better determination for the project development.

- HP is HP without debt - the option to invest is the one with positive NPV and NPV costs+inflation - EU model considers the financial van and irr and the economic one in a different way, so the one to invest should have also this elements in a positive range

Table 9.2 Comparison of five optional analysis

.161

In order to divide works → principal methods: 1. UNI8290: •technical units classes •technical elements 2. Materials and works 3. WBS

Identifying entries → technical features, realization and measurement instructions −Description: it should describe precisely the article and its parts −Measure units and the referring measurement principles −Quantity:result of the arithmetical operations about elements measurement

1. Classification for materials and works 2. Executive graphic representations → it is necessary to make measurement simple and retraceable: • Computation techniques recognized by professionals(“allout” or “axisline”) • Standard measurement rules (e.g.UNI parameters)

Fig 9.3 Builinding costs estimates phases Source: Prof. Alessamdra Pandolfi, Politecnico di Milano

10-1-1. Cost and Revenue Analysis

Building Costs are estimated by production costs analysis. All construction costs estimated by reference of ‘ordine degli Ingeneri della Provincia di Milano’.

Lingotto Museum is renovation project but Sometimes Renovation project consume higher capital more than new building construction costs. So here project assumed as constructing new building. Whole preliminary construction estimation is 369,735,033.87 Euro. Categories are divided to twelve categories.

162.

.163

164.

.165

10-1-2. Building Functional income and Operaring Costs (CR tools: Market value analysis) 01. Museum

Market Price analysis of Museum Figure of Visitors shows total visitors in Torino 2010 Paying: visitors who pay for the ticket Not paying: Children, over 60 years old, disabled ect. Here we can see around 40% of visitors pay for ticket. So we can expect profit from 40% of expected visitors. And main five most visited museum prices are all different. Average price of Museum ticket is 8.5 euro. For Lingotto Museumâ&#x20AC;&#x2122;s price I assumed 7 euro enterence fees.

166.

(Euro)

Operating Costs of Museum For the maintenance of museum, staffs, for example museum manager and director and technicians are needed. From members in ‘Egyptian Museum’ and ‘Cinema Museum’ case study, considering the size of Lingotto, it assumed minimum 24 staffs Lingotto will have.

People: Director, Manager, Executives, Technical and employees, Promoters Maintenance : Board of directors, Board of statutory auditors, Scientific committee Marketing: Website design, Website maintenance, Marketing and advertising Operating management : Administration, Utilities, Cleaning, External supervisors, others.

Number of expected visitors are asuumed by 2010’s Torino five popular museum’s average for the first year. And we expect 25% visitors growth every year.

.167

Refernce. Museum Data

168.

02. Hotel <----

Operating Costs of Museum

Currently there are 3 hotels in Lingotto level 3~5 stars. Here I assumed 4 star hotel in the future and estimated preliminary profit estimation woth average accomodation fare in Lingotto area.

03. Restaurant, Bar

Costs and Revenue from Restaurant and Bar

--->

The individual spending is estimate by profit of Egyptian Museum bar and restaurant in 2010. Averagely one person spent 25 euro in the restaurant and 6 euro at bar.

.169

04. Conference Hall

05. Trade Exhibition (Lingotto Fiere)

Operating costs of Library Public Library Free entrance for locals According to Regulation of Municipality, library function will last after revnovation.

06. Library

170.

07. Bookshop

Lingotto Parking Current rate Hourly rate rate of A € 0.60 /h rate of B € 1.20/h rate of C € 1.20/h rate of D € 0.60/h rate of D € 1.50/h rate of F € 1.50/h rate of L € 1.20/h rate of M € 1.20/h

08. Parking Lot

average € 1.3/h Maximum Rate : (24 hours) € 13.00 Abonamento mensile : from ~ € 35 Assumed as 1 euro/h

10-1-3. Other costs (Supply and Demand analysis)

.171

Analysis: Option 1

01. HP SHEET

172.

10-1-4. HP option 1 Fisrt Analysis show all NPV results are negative.

Project is assumed half leasing and half self management. Any economical aid is not provided.

When Lingotto rent its space to the outside( 50% self-management, 50% rent offices and trade exhibition center) profit it gains less.

NPV with financial cost (banking loan or financial support) and without financial cost are all negative.

All the results indicate to find another investment method or operating management.

.173

02. Functions and Management

03. Self-management cost (per year)

04. Renting cost (per year)

174.

Building function and construction costs dome, glass tower

shows cash outflows (investment). 1. Rental 50% and 50% self management from Offices 2. Assuming 30% parking spacesto outside. currently except Firere, all parking

spaces are rented to outsourcing firm.

P Basement

Museum

garden park Conference center

Hotel

Book shop

Library Roof park outdoor exhibition

Restaurant, bar P

Fiera exhibition Parking

Income from self-management and Renting Table shows cash inflows. Total Income is sum of self management and renting . Self-management table show revenue analysis by Lingotto buildingâ&#x20AC;&#x2122;s total income and VAT total. On the renting operating income figure assumes offices and parking space are occupied 28% in first operating year (year 4) and increase gradually up to 100% in year 7 operating year.

05. Selling cost (per year)

.175

06. UE Analysis

07. Investment Costs

08. Investment Sources

09. Cost and Revenue

10. Sustainability

176.

.177

11. FIRR/ FNPV of Investment

12. FIRR/ FNPV of Capitalt

13. Cost Flows

14. Priofit and Loss

178.

.179

15. Cost flows + inflation

16. Priofit and Loss + inflation

17. Priofit and Loss + financial cost

18. Priofit and Loss + financial cost

180.

.181

19. Priofit and Loss + inflation + financial cost

20. Priofit and Loss + inflation + financial cost

182.

.183

Analysis: Option 2

01. HP SHEET

184.

10-1-5. HP option 2 To switch negative NPV of option 1, another strategy has analysed on option 2.

Alternative strategy has more self-management space. While

option 1 assumed; that parking lot is operated by outside firm as a separate business , option 2 shift option 1â&#x20AC;&#x2122;s renting parking lot to self-managing operation. As a result self-managementâ&#x20AC;&#x2122;s parking raise annual income and NPV turns back to positive.

But results are still satisfied to invest. And positive NPV needs financial costs.

.185

02. Functions and Management

03. Self-management cost (per year)

04. Renting cost (per year)

186.

dome, glass tower

P Basement

Museum

garden park Conference center

Hotel

Book shop

Library Roof park outdoor exhibition

Restaurant, bar P

Fiera exhibition Parking

05. Selling cost (per year)

.187

06. UE Analysis

07. Investment Costs

08. Investment Sources

09. Cost and Revenue

10. Sustainability

188.

.189

11. FIRR/ FNPV of Investment

12. FIRR/ FNPV of Capital

13. Cost Flows

14. Priofit and Loss

190.

.191

15. Cost flows + inflation

16. Priofit and Loss + inflation

17. Priofit and Loss + financial cost

18. Priofit and Loss + financial cost

192.

.193

19. Priofit and Loss + inflation + financial cost

20. Priofit and Loss + inflation + financial cost

194.

.195

Analysis: Option 3

01. HP SHEET

196.

10-1-6. HP option 3 For a higher annual revenue, option 3 strategy increase selfmanagement function 7% up.

Fiere (Trade and productsâ&#x20AC;&#x2122; exhibition area) included in self

management operating. NPV results materially alter by additional revenue. (But here operating costs such as employees and marketing costs are missed.)

The case show NPV is positive without financial costs. Results in the EU model turn to all positive.

.197

02. Functions and Management

03. Self-management cost (per year)

04. Renting cost (per year)

198.

dome, glass tower

P Basement

Museum

garden park Conference center

Hotel

Book shop

Library Roof park outdoor exhibition

Restaurant, bar P

Fiera exhibition Parking

05. Selling cost (per year)

.199

06. UE Analysis

07. Investment Costs

08. Investment Sources

09. Cost and Revenue

10. Financial Sustainability

200.

.201

11. FIRR/ FNPV of Investment

12. FIRR/ FNPV of Capital

13. Cost Flows

14. Priofit and Loss

202.

.203

15. Cost flows + inflation

16. Priofit and Loss + inflation

17. Priofit and Loss + financial cost

18. Priofit and Loss + financial cost

204.

.205

19. Priofit and Loss + inflation + financial cost

20. Priofit and Loss + inflation + financial cost

206.

.207

Analysis: Option 4

01. HP SHEET

208.

10-1-7. HP option 4 To lift NPV up higher, compared to option3, option4

calls 3,962,450 euro local aid for construction cost for public library.

NPV and EU model results are slightly raised.

The result show the most positive result from five optional CR analysis.

.209

02. Functions and Management

03. Self-management cost (per year)

04. Renting cost (per year)

210.

dome, glass tower

P Basement

Museum

garden park Conference center

Hotel

Book shop

Library Roof park outdoor exhibition

Restaurant, bar P

Fiera exhibition Parking

05. Selling cost (per year)

.211

06. UE Analysis

07. Investment Costs

08. Investment Sources

09. Cost and Revenue

10. Sustainability

212.

.213

11. FIRR/ FNPV of Investment

12. FIRR/ FNPV of Capitalt

13. Cost Flows

14. Priofit and Loss

214.

.215

15. Cost flows + inflation

16. Priofit and Loss + inflation

17. Priofit and Loss + financial cost

18. Priofit and Loss + financial cost

216.

.217

19. Priofit and Loss + inflation + finacial cost

20. Priofit and Loss + inflation + finacial cost

218.

.219

Analysis: Option 5

01. HP SHEET

220.

10-1-8. HP option 5 Contrary to other four options, option 5 has analysed without financial debt from Bank.

.221

02. Functions and Management

03. Self-management cost (per year)

04. Renting cost (per year)

222.

dome, glass tower

P Basement

Museum

garden park Conference center

Hotel

Book shop

Library Roof park outdoor exhibition

Restaurant, bar P

Fiera exhibition Parking

05. Selling cost (per year)

.223

06. UE Analysis

07. Investment Costs

08. Investment Sources

09. Cost and Revenue

10. Sustainability

224.

.225

11. FIRR/ FNPV of Investment

12. FIRR/ FNPV of Capitalt

13. Cost Flows

14. Priofit and Loss

226.

.227

15. Cost flows + inflation

16. Priofit and Loss + inflation

17. Priofit and Loss + financial cost

18. Priofit and Loss + financial cost

228.

.229

19. Priofit and Loss + inflation + finacial cost

20. Priofit and Loss + inflation + finacial cost

230.

.231

Comparison of Cultural Zone CR analysis 10-2. Preliminary optional Estimations Five Museum preliminary CR analysis show

projects. CR analysis come to an action to in-

cial investment efficiency is quite low. So to

on the cultural area and how much economic

some cases can make profits, but still finanincrease projectâ&#x20AC;&#x2122;s economic value, next ad-

ditional CR analysis are executed by adding

supporting facilities near Lingotto Museum. Ex-olympic village would be renovated into

residential and youth hostel, cultural market HP 6 : Museum: Renting: 50% + Self-management: 50%, / No Aid Moi: Renting 20% + 80% self management / No Aid Residential : 25% selling + 46% renting + 29% self management/ No Aid HP 7 : Museum: Renting: 50% + Self-management: 50%, / No Aid Moi: Renting 20% + 80% self management / Aid (education) Residential : 25% selling + 39% renting + 36% self management/ No Aid

HP 8 : Museum: Renting: 50% + Self-management: 50%, / No Aid Moi: Renting 11% + 89% self management / No Aid Residential : 25% selling + 39%renting + 36% self management/ No Aid

232.

vestigate how those all touristsâ&#x20AC;&#x2122; facilities work values they have.

Additional cash flow analysis (with Moi ex-

Moi get aid, so result has more negative than

larity as previous analysis.

So from the result, HP8 is the positive way to

mercati and Olympic residential) show simi-

Among HP6 and HP7 and HP8, HP8 get the

most positive NPV value. HP8 has highest self

HP6.

invest.

management composition, does not have aid.

On the other hand, HP has higher self man-

agement ratio, but educational function in

Table 9.4 Comparison of additional three optional analysis

.233

10-1-1. Construction costs (CR tools: Price list)

234.

.235

10-2-2. Building Functional income and Operaring Costs (CR tools: Market value analysis)

01. MOI Ex-Mercato

02. Education space (MOI)

03. Parking Lot (Ex- Olympic Residential)

236.

10-2-3. Other Costs

.237

Analysis: Option 6

01. HP SHEET

238.

10-2-3. HP option 6 Option 6 is positive to invest.

Lingotto Museum rent half of spaces (no included Gallery),

Moi cultural market runs by self management and outside with reasonable ratio.

Olympic village is divided to three part, one is hostel (renting),

and one lot is rent to artists or craftsman and student, last part is sold to local people. All commercial facilities run by leasing.

.239

02. Functions and Management

04. Selling cost (per year)

240.

03. Self-management cost (per year)

05. Renting cost (per year)

.241

06. UE Analysis

07. Investment Costs

08. Investment Sources

09. Cost and Revenue

10. Sustainability

242.

.243

11. FIRR/ FNPV of Investment

12. FIRR/ FNPV of Capitalt

13. Cost Flows

14. Priofit and Loss

244.

.245

15. Cost flows + inflation

16. Priofit and Loss + inflation

17. Priofit and Loss + financial cost

18. Priofit and Loss + financial cost

246.

.247

19. Priofit and Loss + inflation + finacial cost

20. Priofit and Loss + inflation + finacial cost

248.

.249

Analysis: Option 7

01. HP SHEET

250.

10-2-4. HP option 7 Option 7 is negative.

Compared to Option 6, renting ratio has raised in Moi and aids are invested on library and education.

.251

02. Functions and Management

04. Selling cost (per year)

252.

03. Self-management cost (per year)

05. Renting cost (per year)

.253

06. UE Analysis

07. Investment Costs

08. Investment Sources

09. Cost and Revenue

10. Sustainability

254.

.255

11. FIRR/ FNPV of Investment

12. FIRR/ FNPV of Capitalt

13. Cost Flows

14. Priofit and Loss

256.

.257

15. Cost flows + inflation

16. Priofit and Loss + inflation

17. Priofit and Loss + financial cost

18. Priofit and Loss + financial cost

258.

.259

19. Priofit and Loss + inflation + finacial cost

20. Priofit and Loss + inflation + finacial cost

260.

.261

Analysis: Option 8

01. HP SHEET

262.

10-2-5. HP option 8 Option 8 is positive.

Self-management ratio is the highest, then get the most positive result.

There are no aids on the option 8.

.263

02. Functions and Management

04. Selling cost (per year)

264.

03. Self-management cost (per year)

05. Renting cost (per year)

.265

06. UE Analysis

07. Investment Costs

08. Investment Sources

09. Cost and Revenue

10. Sustainability

266.

.267

11. FIRR/ FNPV of Investment

12. FIRR/ FNPV of Capitalt

13. Cost Flows

14. Priofit and Loss

268.

.269

15. Cost flows + inflation

16. Priofit and Loss + inflation

17. Priofit and Loss + financial cost

18. Priofit and Loss + financial cost

270.

.271

19. Priofit and Loss + inflation + finacial cost

20. Priofit and Loss + inflation + finacial cost

272.

.273

Conclusion 10-3. Conclusion

even worthier if it would be combined with the 4th project (the one around the Regione

This research aims to seek for creative compromise and balanced development for To-

that are immediately sold on the market.

rino as a cultural and tourist city with ‘Monu-

But not only economic view point of this re-

museum attracting tremendous tourists every

cial change it would have. Still Torino has an

mental Museum’ as like world-wide famous year.

Not only for tourists but also relatively unde-

veloped Lingotto area have possibility to pull its activities and vitality out through the cultural generation.

As it is illustrated before, museum transformation from shopping mall to museum create revenue depend on the way of operation and management and it is worth attempting.

Especially As we can see above, Museum run

most functions by itself, Lingotto museum can gain more profits than lease spaces to the

outside firm or runs some operations by another management (Parking, Fiera).

search, this project should be considered soimage of industrial city, or business city’s image then do not appeal certain tourism than it

has. As like Bilbao Guggenheim Museum, this

project also can be developed to change general city’s image not only focusing on the project costs. The interrelative spreading effect to the urban growth and tourism, latent ability

of Cultural quarter is bigger than total rev-

enue for a given output of feasibility analysis. For successful projects of this cultural quarter are also up to their software. Making and de-

sign the places where people desire to go is the next step for achieving projects’ potential.

More effective investment tool is using lever-

Torino is beautiful city has beautiful moun-

youth hostel and cultural market publicly

al family’s Baroque heritage. With modern

age of neighbourhoods; cultural quarter. By creating income from tourist and local people, net income from cultural quarter project

maximize its potential value and has high in-

vestment value. The tourism facilities range shares the same strong attractive and economic synergies.

The cost revenue analysis show that it is

worth to invest (Fig 9.5, see NPV and NPV +costs&inflation in HP 3, 5 and 8), but obviously it is better to combine it with ‘stronger’

functions (the museum options have too many public functions that have very high costs and low incomes, that come very late in the CF, whereas functions that could be sold on the

market right after the beginning of the operation ensure a better performance). It could be

274.

building), as that one has stronger functions

tain and food culture and famous Savoy roy-

buildings under the influence of international mega event, the city extraordinary atmos-

phere and all-time mix of architecture inside a city.

With recent Torino’s challenge to step up to

the international design and tourist city, this research can be a considerable strategy.

Table 9.5 Fianal Positive NPV/ NPV + inflation + financial cost

pic. Torino Tour Bus

.275

276.

Appendix A

.277

Index The city of Torino and Economy Table. Changes of populations (%)

Figure Population of Torino

Source: ISTAT

Source: GeoNames geographical database

2001

2004

90 7, 56 3

1990

1975

2008

2011

86 52 63 1960

63 2,8 0 1,0

00 0,0 0 0 1,

19 3

0,0

0 1,2

Figure Population change, Torino Metropolitan Area Sources: ISTAT, IRES (2007)

Population Change in %

8 6 4 2 0

-2

-4 -6 -8

-10 -12 1991-2001

2001-05

1991-2001

Municipality

2001-05

1991-2001

First ring surburbs

2001-05

1991-2001

Second ring surburbs

2001-05

Metropolitan area

Figure Unemployment rate, Provice of Torino, 1993-2010 (%) % 12 10 8 6 4 2 0 1993

278.

1994

1995

1996

1997

1998

1999

2000

2001

2002

2003

2004

2005

2006

2007

2008

2009

2010

Province of Torino / Piemonte Economy Gross Value Added

Figure. GVA percapita 1980-2010

Figure. GVA growth rate 1981-2 010 6 in %

Piemonte Italy

25000 inros Eu

Piemonte Italy

4 20000

15000

-4

10000

-8 1980

1985

1990

1995

2000

2005

2010

Source: Cambridge Econometrics, 010. 2

1980

1985

1990

1995

2000

2005

2010

Source: Cambridge Econometrics, 010. 2

Figure. Employmentrate 1991-2009

008 Figure. Unemploymentrate 1980-2 12 in %

Piemonte Italy

80 in % Piemonte Italy

10 70

8 60

1980

1985

1990

1995

2000

2005

50 1990

2000

1995

2005

2009

Source: Eu rostat, 010. 2

Source: Cambridge Econometrics, 010. 2

h and restaurants Figure. Employment inotels rovin cin eofTorino the P 1980-2008 50 in thousands

Figure. Patents per million inhabitants 990-20 07 1 150 per million inhabitants inhabita

120 40

30 1980

1985

1990

1995

2000

2005

Source: Cambridge Econometrics, 010. 2 P.18 /Torino reclaming and diversifying local economic strengths,/ LSE Cities London School of Economics and Political Science, 2010/ Houghton Street London WC2A 2AE United m Kingdo

Piemonte Italy

1990

1995

2000

2005

Source: Eu rostat, 07 20. P.17 /Torino reclaming and diversifying local economic strengths,/ LSE Cities London School of Economics and Political Science, 2010/ Houghton Street London WC2A 2AE United m Kingdo

.279

Changing Number of Tourists in Torino Figure. Number of tourists visiting the Province of Torino 2003-2009 2000 in thousands

National Foreign

1500

1000

500

2003

2004

2006

2005

2008

2007

2009

Source:T orinoC ongiuntura, 2010.

Figure. Number of visitors to Basque Country - Vizcaya-Bilbao

2,200

1,000

2,100

900

2,000

800

1,900

700

1,800

600

1,700

500 400

1,600

300

1,500 2002

2003

2004

PaĂs Vasco

2005 Vizcaya

2006

2007

1,400

Bilbao

Figure. Guggenheim Museum of Bilbao and city visitor source: Elaboration by the authors from th Eustat database

350,000 300,000 250,000 200,000 150,000 100,000 50,000

1994

1995 Incoming travellers

280.

1996

1997

1998

Over-night travellers

1999

2000

Visitors to Guggenheim

Thousand

1,100

200

Figure. Visitors to the Guggenheim Museum of Bilbao source: Elaboration by the authors from th Eustat database

Thousand

source: Eustat database, http://www.bilbao.net

1,050 1,000 950 900 850 800 750

2002

2003

2004

2005

2006

2007

Tate Mdern Gallery and Visitors Sources: http://www.tate.org.uk/

Financial Year Total

2000/01

2001/02

2002/03

2003/04

2004/05

2005/06

4,819,469

3,774,513

4,377,406

4,226,335

4,147,549

3,958,026

2006/07

2007/08

2008/09

2009/10

2010/11

5,235,000

5,236,702

4,647,881

4,788,000

5,035,000

* visitors to 11 April 2005

Tate Modern

4,147,549 ,275,029

(to Permanent collection)

1,314,796

(to Temporary exhibitions)

MoMA New York

1,000,000

(November 2004 - march 2005)

Guggenheim New York

Just under 1 million

Guggenheim Bilbao

900,000

SFMOMA

768,483

Centre Pompidou 1

Number of Visitors Naoshima Island Figure. Visitors in Naoshima Island

(thousands)

400 0

,00

360

300

200

100

,00 23 0

1990

1995

2000

2005

2009

Source: THE SHIKOKU SHIMBUN, 02,May,2010. http://www.shikoku-np.co.jp/feature/art_festival/islands_of_art/01/

.281

Table of Contents PART 1 Chapter 1. Introduction Fig. 1.1 Flight Destinations from Torino

. . . . 14

Fig. 1.2 Changes of Tourist in Piemonte Region (number of Presnce)

. . . . 14

Fig. 1.3 Transportation corridor of Europe

. . . . 16

Fig. 1.4 Major Ten-T Project’s Linre pass Torino and relevant Lines

. . . . 16

Fig. 1.5 Three sections of te main project for TAV Torino-Lyon

. . . . 20

Fig. 1.6 New Transportation effects

. . . . 20

Fig. 1.7 Turin Town Plan (1995)

. . . . 22

Fig. 1.8 Major Service cluster in the Polycentric global city

. . . . 24

Fig. 1.9 Cultural Quater Potential Analysis

. . . . 26

Fig. 1.10 Composition of Railway segment per typology

. . . . 30

Fig 1.11 Road and Transportation Plan of Torino

. . . . 31

Table 1.1 Distance from main italian cities from Torino

. . . . 17

Table 1.2 Composition of Railway segment per typology

. . . . 18

Chapter 2. History of Torino Fig. 2.1. Geography of Torino

. . . . 33

Fig. 2.2 Population of Torino

. . . . 35

Fig. 2.3 Unemployment rate, Province of Torino

. . . . 36

Fig. 2.4 Torino Master Plan 2000

. . . . 41

Fig. 2.5 Olympic Impact on Tourism

. . . . 43

Fig. 2.6 The number of overnight stay in Barcelona

. . . . 44

Fig. 2.7 Europe’s leading cities growth of overnight stays (1990-2000)

. . . . 44

Fig. 2.8 Presence of Tourists (%)

. . . . 46

Table 1.1 Major Event studies in Torino since 1980’s

. . . . 39

Table 1.2 Forecast of arrivals at hotel, 2002-2011

. . . . 45

Chapter 3. Culture & New Economy

282.

Fig. 3.1 Number of tourists visiting the Province of Torino 2003-2009

. . . . 53

Fig. 3.2 Urban Regeneration and Re-imaging

. . . . 55

Fig. 3.4 Number of Museum visitors in Torino

. . . . 63

Chapter4. Case Study Fig. 4.1 VIsotors to the Guggenheim Museum of Bilbao

. . . . 68

Fig. 4.2 Number of visitors to Basque Country-Vizcaya-Bilbao

. . . . 68

Fig. 4.3 Olympic Impact on Tourism

. . . . 70

Fig. 4.4 Measurable impact of Bilbao Guggenheim

. . . . 70

Fig. 4.5 Tate modern Visitor figures by year

. . . . 74

Fig. 4.6 Visitors in Naoshima Island

. . . . 81

Chapter5. Culture-led renovation of Lingotto Chapter6. Transformation of Lingotto Fig. 5.1 Metro and Rail connection Between Torino City Ceter and Ligotto area

. . . . 96

Fig. 5.2 Methodological framework for Lingotto

. . . . 99

Fig. 5.3 Potential Factors of Development in Lingotto

. . . . 100

Chapter6. Transformation of Lingotto Fig. 6.1 Idea of Fiat Rooftop as a sports facility by Gae Aulenti

. . . . 105

Fig. 6.2 Sculpture garden in MOMA New York

. . . . 106

Fig. 6.3 Famous museum and gallery on famous architecture

. . . . 109

Chapter7. Fosting Cultural Quarters Fig. 7.1 Plan of Regione Piemonte Project by Fuksas

. . . . 113

Fig. 7.2 Sculpture garden in MOMA New York

. . . . 114

Fig. 7.3 Lingotto Cultural District

. . . . 116

Fig. 7.4 Bermondsey Street, London borough of Southwark: structural elements

. . . . 118

Fig. 7.5 Telok Ayer in its local and regional settings

. . . . 118

Fig 7.6 Cultural Sprawl from Lingotto District

. . . . 119

8. Project Scheme Fig. 8.1 PLANS of LINGOTTO

. . . . 125

Fig. 8.2 PLANS of MOI EXMERCATO

. . . . 133

.283

9. The financial and economic analysis

284.

Fig. 9.1 Structure of project appraisal

. . . . 141

Fig. 9.2 Structure of financial analysis

. . . . 143

Fig. 9.3 Project cost spread over the years

. . . . 144

Fig. 9.4 The project investment cost includes any one-off pre-production expenses

. . . . 146

Fig. 9.5 Structure of economic analysis

. . . . 154

Fig. 9.6 Procedure of Synthetic and comparative method for Market value

. . . . 156

Table 9.1 Financial analysis of Lingotto Museum and facilities

. . . . 142

Table 9.2 Example of Members of Lingotto Museum and wage costs

. . . . 147

Table 9.3 Example of Operating costs of Lingotto Museum

. . . . 147

Table 9.4 Example of Cash Flows of Project

. . . . 149

Table 9.5 Financial sustainability

. . . . 151

Table 9.6 Example of Buiding costs estimation

. . . . 157

Table 9.7 Example Costs Estimation by function

. . . . 158

Notes PART 1

Divača/Koper-Divača-Ljubljana-BudapestUkrainian border 2) Priority Project 24- Railway axis Lyon/Genova-

Chapter 1. Introduction

Basel-Duisburg-Rotterdam/Antwerpen 7. Priority Project 1- Railway axis Berlin-Verona/

1. Alexia De Steffani (2011) / A la caste urban poli-

Milano-Bologna- Napoli-Messina-Palermo

cies, mega-events: From exceptionality of ordinary

8. Officina Città Torino (2005) / Torino MOI : dai

planning practies. A look ar Italy: Case study of the

mercati generali al villaggio olimpico. - Torino :

2006 WInter Olympic Games in Turin Research –

Officina Città Torino P. 98~99

Lieuvous atetis science- future of Lithuania

9. Alexia De Steffani (2011) / A la caste urban poli-

2. Distance of Major Tourists destination from To-

cies, mega-events: From exceptionality of ordinary

rino Airpot:

planning practies. A look ar Italy: Case study of the

• 16 Km from Turino

2006 WInter Olympic Games in Turin Research –

• 80 Km from Alba and the Langhe area

Lieuvous atetis science- future of Lithuania

• 100 Km from the ski resorts

10. Le Corbusier called Lingotto “one of the most

• 110Km from Aosta

impressive sights in industry”

• 120 Km from Lake Maggiore

11. Car production started at ground level and as

• 150 Km from Milan

each car reached another stage of completion, it

• 160 Km from Savona

was moved up another floor until it reached the

• 190Km from Genoa

rooftop, hopefully finished, and ready to be raced

• 250 Km from Geneva

around the test track on top of the factory.

3. http://www.a-torino.com/web/en/torino/come_

12. LORD Cultural Resources Planning & Manage-

arrivare.html

ment Inc / Museums and Sustainability: Economy,

4. Ten-T EU: Trans-European Transport Network

Culture and Community

- Brussels-based TENT Executive Agency was created by the European Commission in 2006.

Chapter 2. History of Torino

• The Trans-European Transport Network is a major element for economic growth and job creation in Europe. The TEN-T is essential to facilitate the

1. City’ population (i.e. that of the comune or

mobility of persons, goods and services and thus

municipality) from demographic balance: ISTAT

to the establishment of the internal market and

2010.

the economic and social cohesion of the Union.

2. OECD. “Competitive Cities in the Global Econ-

The Trans-European Transport Network com-

omy”. Retrieved 30 April 2009

prises transport infrastructure, traffic management

3. Città di Torino (2006) / ‘FAR FROM WHERE?

systems and positioning and navigation systems.

Tools and data for mapping the distribution and

The transport infrastructure comprises road, rail,

stratification of the geographical origins of the

inland waterway networks, motorways of the sea,

population of Torino’

seaports and inland waterway ports, airports and

4. Ricky Burdett, Andrea Colantonio, Cristina

other interconnection points between modal net-

Alaimo, Myfanwy Taylor (2010)/ P.6, Torino rec-

works.

laming and diversifying local economic strengths

6. 1) Priority Project 6- Railway axis Lyon-Trieste-

5.Ricky Burdett, Andrea Colantonio, Cristina

.285

Alaimo, Myfanwy Taylor (2010)/ P.4, Torino rec-

portunities of Global Events, Urban Land Institute

laming and diversifying local economic strengths

19. Meetings, Incentives, Conferences, Exhibitions

6. Winkler, A. (2007): Torino: City Report, Centre For Analysis Of Social Exclusion 7. Joe Huxley( September 2010), Turin Meeting the

Chapter 3. Culture & New Economy

New Crisis With a Proven Package of Responses

286.

Case Study

1. ALLEN J. SCOTT / CULTURAL-PRODUCTS

8. Ricky Burdett, Andrea Colantonio, Cristina

INDUSTRIES ANDURBAN ECONOMIC DE-

Alaimo, Myfanwy Taylor (2010)/ P.4-6, Torino rec-

VELOPMENT Prospects for Growth and Market

laming and diversifying local economic strengths

Contestation in Global Context

9. Winkler, A. (2007): Torino: City Report, Centre

2. ALLEN J. SCOTT (2004)/ URBAN AFFAIRS

For Analysis Of Social Exclusion

10. Fordism: Named after Henry Ford, is a modern

lications

economic and social system based on industrial

3. Patricia Huang(2005)/ Culture-led Regeneration

mass production. The concept is used in various

, Where Art, Architecture, and Landscape Meet

social theories about production and related socio-

4. Julia Winfield-Pfefferkorn (2005)/ Master thesis

economic phenomena.It has varying but related

- THE BRANDING OF CITIES / Graduate School

meanings in different fields, as well as for Marxist

of Syracuse University

and non-Marxist scholars. In a Fordist system the

5. Patricia Huang(2005)/ Culture-led Regeneration

worker is paid relatively high wages in order to buy

, Where Art, Architecture, and Landscape Meet

in large quantity the products turned out in mass

6. Alberto Vanolo (2008)/ The image of the creative

production.

city: Some reflections on urban branding in Turin/

11. Winkler, A. (2007): Torino: City Report, Centre

Cities Volume 25, Issue 6, December 2008, P. 370-

For Analysis Of Social Exclusion

382

12. Winkler, A. (2007): Torino: City Report, Centre

7. Michalis Kavaratzis(2004) / From city marketing

For Analysis Of Social Exclusion

to city branding: Towards a theoretical framework

13. Alexander H. J. Otgaar, Leo Van Den Berg,

for developing city brands

Christian Berger and Rachel Xiang Feng (2010) /

8. Gildo Seisdedos,(2006)/ State of the Art of City

Industrial tourism: opportunities for city and en-

Marketing in European Cities

terprise P. 121/ EURICUR Series (European Insti-

9. Julia Winfield-Pfefferkorn (2005)/ Master thesis

tute for Comparative Urban Research

- THE BRANDING OF CITIES (Graduate School

14. Invest in Torino Piemonte, 2008/ Chamber of

of Syracuse University)

Commerce for the Turin Province

10. Tourism has tended to cause uniform growth

15. ALLEN J. SCOTT (2004)/ URBAN AFFAIRS

of cities, with the objective of making the tourist

experience as similar as possible to what the tour-

lications

ists are accustomed to. Consequently, tourist des-

16. Alexia De Steffani (2011) / Case study of the

tinations become indistinguishable and lose their

2006 inter olympic games in Turin

richness, minimising their unique cultural fea-

17. BARCELONA : Event as catalyst / http://urban-

tures. Faced with the ‘MacDonaldisation’, emphasis

waterfront.blogspot.it

should be placed on the heritage (social, cultural

18. Clark, Getal (2010): The Urban Investment Op-

and natural) of the cities, and such heritage should

be the object of tourist attention.

to Beatriz Plaza’s ‘The Guggenheim-Bilbao Mu-

11. Roger Bennett and Sharmila Savani (2003)/

seum Effect’, International Journal of Urban and

The Rebranding of City Places

Regional Research Volume 25.4 December 2001

12. LIU Yuan, CHEN Chong (2007)/ The effects of

4. Yuji Akimoto (2002) / Placing Art: a Colloquium

festivals and special events on city image design

on Public Art in Rural, Coastal and Small Urban

13. Short J R, Breitbach S, Buckman S (2000), et al.

Environments Editored by Liam Kelly , Mary Mc-

From world cities to gateways cities. City, 2000, 4:

Donag P. 51~58 / Co-published by Sligo County

317–340

Council and Sligo Borough Council.

14. Graeme Evans, Culture Cities: Planning or

5. Global Environment Centre Foundation (2005) /

Branding

Eco Towns in Japan

15. Christopher Middleton and Philip Freestone

-Implications and Lessons for Developing Coun-

(2008), The Impact of Culture-led Regeneration on

tries and Cities- June, 2005 / download from

Regional Identity in North East England

http://www.unep.or.jp/ietc/publications/spc/ eco_

16. Bianchini & Parkinson, 1993; Sirefman, 1999;

towns_in_japan.pdf

Brooks & Kushner, 2001; Evens, 2001; Wynne,

6. JOHN MCCARTHY, Promoting Image and

1992

Identity in ‘Cultural Quarters’:the Case of Dundee ,

17. Gomez 1998; Keating and De Frantz, 2004;

The Geddes Institute, School of Town and Regional

Miles, 2005

Planning, University of Dundee, Scotland, UK

18. Julia Winfield-Pfefferkorn (2005)/ Master

7. RODERICK STEPHEN DOWEL (2010)/

thesis - THE BRANDING OF CITIES (Graduate

CULTURAL CLUSTERING, SPATIAL PLAN-

School of Syracuse University)

NING AND URBAN REGENERATION: A CASE

19. Bruno S. Frey and Stephan Meier(2003), The

STUDY OF DUNDEE’S CULTURAL QUARTER/

Economics of Museums, Working Paper No. 149,

MSc Urban and Regional Planning School of the

Institute for Empirical Research in Economics

Built Environment, Heriot Watt University

University of Zurich 20. Pam Meecham (2005), Rethinking the Regeneration Industry Museums for changing lives? P. 7 21. Graeme Evans, Culture Cities: Planning or Branding

PART 2 Chapter4. Case Study

1. Allen J. Scott (2006) / Creative Cities: Conceptual Issues and Poicy Questions / Jounals of Urban Affairs, Volume 28, Number 1, Pages 1-17, Copyright 2006 Urban Affairs Association 2. Pam Meecham (2005), Rethinking the Regeneration Industry - Museums for changing lives?/

Chapter 6. Transformation of Lingotto 1. “Last Monument”, Time. November 2, 1959. 2. Bruno S. Frey (1998)/Superstar Museums: An Economic Analysis 3. Bruno S. Frey (1998)/Superstar Museums: An Economic Analysis

engage review, Issue 17 – Summer 2005 3. Maía V. Gómez, Sara González (2001), A Reply

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7. Fosting Cultural Quarters 1. Hakhee Kim(2007) / The Creative Economy and Urban Art Clusters: Locational Characteristics of Art Galleries in Seoul/ Journal of the Korean Geographical Society vol. 42 No. 2, 2007 , p. 258~279 2. The image of the creative city: Some reflections on urban branding in Turin - Alberto Vanolo, Cities , Volume 25, Issue 6, December 2008, Pages 370-382 3. Gerald E. Frug and David J. Barron. (2008)/ City bound : how states stifle urban innovation / New York ; London : Cornell University

9. The financial and economic analysis 4. Peter Nijkamp(2000) / Handbook of Regional and Urban Economics: Regional economics, Volume 1and 6. Sergio Mattia and Roberta Bianchi (editedby) â&#x20AC;&#x153;Forma e struttura di catastiantichiâ&#x20AC;?,1994carry

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