Abstract

In this working paper is presented part of the work developed during two years of doctoral research at the Politecnico of Milano. The focus of the research is the definition of the role and the competences of design in the valorisation of Cultural Heritage, in order to produce a model of processes of valorisation design driven. Design owns traditional and explicit competences related to the exploitation of the cultural patrimony as exhibition design and light design, but in the contemporary cultural system, corresponding to a more complex concept of Cultural Heritage, design developed a more strategic approach, focusing on the management of the experience of cultural goods, providing the necessary tools, infrastructures and services to improve culture fruition by people and preserving the cultural diversity as a competitive value for a sustainable local development in the global market (Trimarchi, 2005, Semprini, 2005). In this research, Cultural Heritage, as relational good ( Scitovsky, 1976), is considered a contemporary “locus” for the design of processes of innovation. The actions of creation and enhancing of cultural value are represented in a conceptual and flexible model of processes of relations among the context and the other cultural resources which generate it and the people who experiences it. Design can play a strategic role and specific tasks in each phase of these relations.

Keywords

Doctoral education Design and cultural heritage Design processes Design methods Visual model

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Nov 1st, 12:00 AM

Phd Research in Design Driven Processes for the Valorisation of Cultural Heritage

In this working paper is presented part of the work developed during two years of doctoral research at the Politecnico of Milano. The focus of the research is the definition of the role and the competences of design in the valorisation of Cultural Heritage, in order to produce a model of processes of valorisation design driven. Design owns traditional and explicit competences related to the exploitation of the cultural patrimony as exhibition design and light design, but in the contemporary cultural system, corresponding to a more complex concept of Cultural Heritage, design developed a more strategic approach, focusing on the management of the experience of cultural goods, providing the necessary tools, infrastructures and services to improve culture fruition by people and preserving the cultural diversity as a competitive value for a sustainable local development in the global market (Trimarchi, 2005, Semprini, 2005). In this research, Cultural Heritage, as relational good ( Scitovsky, 1976), is considered a contemporary “locus” for the design of processes of innovation. The actions of creation and enhancing of cultural value are represented in a conceptual and flexible model of processes of relations among the context and the other cultural resources which generate it and the people who experiences it. Design can play a strategic role and specific tasks in each phase of these relations.

 

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