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30 | BIBLIOGRAFIA

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5 SCHEDATI

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39


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

D.02

FORZE ARMATE INQUADRAMENTO URBANISTICO *M DPNQMFTTP TPSHF TV VOBSFB EJ GPSNB JSSFHPMBSF  USB WJB $IJOPUUP F WJB 'PS[F "SNBUF-BMPDBMJ[[B[JPOFJORVFTUB[POB TFSWF DPNF EFQPTJUP EJ USBN  QFS SJEVSSF iUFNQJ NPSUJw EVSBOUF JM USBHJUUP  DIF MF WFUUVSFQFSDPSSPOPBMMJOJ[JPFBMMBmOFEFM MPSP FTFSDJ[JP *M TJUP ร’ DPNQPTUP EB USF DPSQJ MFEJmDJP "  EJ GPSNB SFUUBOHPMBSF BMMVOHBUB  DPO EVF JOHSFTTJ TVJ MBUJ DPSUJ  40

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alto  stato  di  conservaione interesse  architettonico  medio 42

D.02

STATO DI FATTO


a b c





JnFTTJCJMJUÃ&#x2039;EJSJVTP

JOUFSFTTFBSDIJUFUUPOJDP

JOUFSFTTFEPDVNFOUBSJP

QSFTFO[BEJDBSBUUFSJPSJHJOBSJ

TUBUPEJDPOTFSWB[JPOF

mOJUVSFNVSBUVSFQFSJNFUSBMJ

UFUUP

NBUFSJBMJTUSVUUVSFWFSUJDBMJ

UJQPTUSVUUVSFWFSUJDBMJ

BMUF[[BFEJmDJP

OVNFSPQJBOJGVPSJUFSSB

b

a

c

EJT DB DBQ JOU BMUP BMUP NFE med BMUP



  EJT DB QJB JOU BMUP CBT CBT bas BMUP



  con NVS QBE JOU BMUP NFE NFE medmed

43


INQUADRAMENTO GENERALE _CODICE RILIEVO 191 -FEJmDJPEFMM"[JFOEB5SBOWJBSJB.JMBOFTF EJ WJB -FPODBWBMMP  FSFUUP OFM   ร’ VUJMJ[[BUP DPNF EFQPTJUP EFMMF WFUUVSF QFS JM USBTQPSUP TJ SPUBJB "MMJOUFSOP EFM DPNQMFTTP  EJ EJNFOTJPOJ MFHHFSNFOUF JOGFSJPSJ BM EFQPTJUP 7JUUPSJB EJ 7JBMF $BNQBOJB  TJ FGGFUUVBOP BODPSB MF BUUJWJUร‹ EJ EFQPTJUP F DVTUPEJB EFJ SFBN F MF PQFSB[JPOJEJQVMJ[JBFWFSJmDBEFMMFWFUUVSF /FM DPSTP EFM UFNQP TJ TPOP BGmBODBUJ JOUFSWFOUJ EJ NBOVUFO[JPOF QJรก TQFDJmDB  UBOUPEBGBSBTTVNFSFBMEFQPTJUPBODIFJM SVPMPEJPGmDJOB-BSFBSJTVMUBBDDFTTJCJMF TPMBNFOUFUSBNJUFBQQPTJUPQFSNFTTP

INQUADRAMENTO URBANISTICO *M TJUP PDDVQB VOB QPS[JPOF EJ VO WBTUP JTPMBUP B GPSNB EJ USBQF[JP JSSFHPMBSF EFMJNJUBUP EBMMB WJB $BTPSFUUP  7JB 5FPEPTJP WJB.BODJOFMMJFWJB-FPODBWBMMP *M DPNQMFTTP TPSHF JO VOB QPTJ[JPOF EJ NBTTJNB FGmDJFO[B  QFS RVBOUP SJHVBSEB MB HFTUJPOF EFMMF MJOFF  MVOHP MB DFSDIJB FTUFSOB QFSSJEVSSFJiUFNQJNPSUJwEVSBOUF JM USBHJUUP DIF MF WFUUVSF QFSDPSSPOP BMMJOJ[JP FE BMMB mOF EFM MPSP FTFSDJ[JP -BSFBQVร›FTTFSFBSUJDPMBUBJOUSFEJWFSTF QBSUJ  MFEJmDJP "  DIF SJDPSEB MB GPSNB EJ VO QBSBMMFMPHSBNNB  QSFTFOUBOEP EVF JOHSFTTJ EJTQPTUJ TVHMJ BOHPMJ BDVUJ JO DPSSJTQPOEFO[B EJ WJB -FPODBWBMMP F WJB 5FPEPTJP TFDPOEPVOBEJTQPTJ[JPOFMVOHP 44

D.11

LEONCAVALLO

BM EJBHPOBMF DIF DPOTFOUF JM SJDPWFSP EJ VO NBHHJPS OVNFSP EJ WFUUVSF -FEJmDJP # BQJBOUBUSJBOHPMBSFBDDPHMJFMFTBMFEJ SJUSPWP EFM QFSTPOBMF WJBHHJBOUF  NFOUSF MFEJmDJP $  EJ GPSNB JSSFHPMBSF  PTQJUB GVO[JPOJEJTFSWJ[JPQFSJMQFSTPOBMFRVBMJ TQPHMJBUPJ CBHOJFEPDDF


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45


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a 

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b  DPO TUSVUUVSB JO DFNFOUP BSNBUP F DPQFSUVSBQJBOB TJBSUJDPMBTVVOBQJBOUB USJBOHPMBSFDPOVOQJDDPMPDPSUJMFJOUFSOP  QBSUFBEVOVOJDPQJBOPFMBTVBSFTUBOUF TVEVFMJWFMMJ-FEJmDJPcQSFTFOUBMFTUFTTF DBSBUUFSJTUJDIFTUSVUUVSBMJ NBIBVOBQJBOUB B GPSNB USBQF[PJEBMF 4JB MFEJmDJP b DIF MFEJmDJP cTJQSFTFOUBOPDPOVOBGBDDJBUB TVTUSBEBMJOFBSF QSJWBEJEFDPSB[JPOJ NB JOHFOUJMJUBEBFMFNFOUJBSJMJFWPJODFNFOUJ DIFDPSPOBOPMFmOFTUSF

D.11

STATO DI FATTO

alto sinteresse  architettonico buona  flessibilità  al  riuso 46


a b c



  EJT DB GBM

JnFTTJCJMJUÃ&#x2039;EJSJVTP

JOUFSFTTFBSDIJUFUUPOJDP

JOUFSFTTFEPDVNFOUBSJP

QSFTFO[BEJDBSBUUFSJPSJHJOBSJ

TUBUPEJDPOTFSWB[JPOF

mOJUVSFNVSBUVSFQFSJNFUSBMJ

UFUUP

NBUFSJBMJTUSVUUVSFWFSUJDBMJ

UJQPTUSVUUVSFWFSUJDBMJ

BMUF[[BFEJmDJP

OVNFSPQJBOJGVPSJUFSSB

c

a

b

JOU BMUP QBS NFE BMUP BMUP

    EJT DB QJB JOU BMUP QBS NFE med med

    EJT DB QJB JOU med QBS CBT med med

47


*M EFQPTJUP USBOWJBSJP EFMM"5. EJ WJB -FPODBWBMMP Ã&#x2019; EJ QPDP TVDDFTTJWP BMMBUUJHVB0GmDJOB(FOFSBMF DPTUSVJUBFOUSP JMFEBNQMJBUBOFM*ODBSUBNFOUJ DIF SJQPSUBOP EBUJ BSDIJUFUUPOJDJ EFM TJUP TPOP TUBUJ FTBNJOBUJ QSFTTP M"SDIJWJP DJWJDP %FMFEEB  EFQPTJUBUJ JO PDDBTJPOF EJ MBWPSJ FTFHVJUJ OFHMJ BOOJ  EFM OPWFDFOUP BMMB DPOTJTUFO[B EFM %FQPTJUP 5FPEPTJP -F QMBOJNFUSJF  TV CBTF EFM  DPO BHHJPSOBNFOUP EFM   UFTUJNPOJBOP MB QBSUJDPMBSJUÃ&#x2039; EFMMB QJBOUB  JOTFSJUB OFM MPUUP RVBESBOHPMBSF  TFDPOEP MB RVBMF JM EFQPTJUP SJTVMUB EJSFUUBNFOUF BOOFTTP BMMBSFB EFMM0GmDJOB  DSFBOEP VO DPMMFHBNFOUP QFS J NF[[J TV SPUBJB

I DUE INGRESSI CARATTERIZZANO LA NECESSITÃ&#x20AC; DELLâ&#x20AC;&#x2122;ATM DI RIORGANIZZARE LE PROPRIETÃ&#x20AC; LEGATE ALLE INFRASTRUTTURE VIABILISTICHE, TFDPOEP OPSNF EJ OVPWB FGmDJFO[B MB SFBMJ[[B[JPOF EJ OVPWJ JNQJBOUJ FE JM SJBNNPEFSOBNFOUP HFOFSBMF EPWFWBOP TFHVJSF MF SFHPMF EJ MPDBMJ[[B[JPOJ F QSPHFUUB[JPOF DPOTPOF BMMFDPOPNJ[[B[JPOFEFMMFSJTPSTF QFSDVJ JUSBHJUUJEPWFWBOPFTTFSFNJOJNJ MFQJBOUF BEBUUFBMMBDJSDPMB[JPOFNJOJNBEFJNF[[J

D.11

NOTIZIE

48


INTERNO a + PROSPETTO c

INTERNO a

49


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

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MESSINA INQUADRAMENTO URBANISTICO -B SJNFTTB EFMM"UN EJ WJB .FTTJOB ร’ DPTUJUVJUB EB TFJ DPSQJ EJ GBCCSJDB FE PDDVQB HSBO QBSUF EJ VO WBTUP JTPMBUP EJ GPSNB JSSFHPMBSF  EFMJNJUBUP EB WJB .POWJTP WJB5BSUBHMJBFWJB1SPDBDDJOJ *M DPNQMFTTP IB VOFMFWBUB BDDFTTJCJMJUร‹ JO RVBOUP TJ USPWB OFJ QSFTTJ EJ VOBSFB CFO TFSWJUB EB NF[[J QVCCMJDJ (BSJCBMEJ  1PSUB  7PMUB  ร’ JOPMUSF EPUBUP EJ QJรก GSPOUJ FEJOHSFTTJEBMMFTUSBEFDIFEFUFSNJOBOP 50

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52

D.04

STATO DI FATTO


d c b f

JnFTTJCJMJUÃ&#x2039;EJSJVTP

JOUFSFTTFBSDIJUFUUPOJDP

JOUFSFTTFEPDVNFOUBSJP

QSFTFO[BEJDBSBUUFSJPSJHJOBSJ

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mOJUVSFNVSBUVSFQFSJNFUSBMJ

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UJQPTUSVUUVSFWFSUJDBMJ

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OVNFSPQJBOJGVPSJUFSSB

a b c d e f

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a

e



  EJT DB DBQ JOU BMUP UPU BMUP med med



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EJT DB TIE JOU med QBS NFE med med

53


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

D.04

NOTIZIE INTERNO a + PROSPETTO c

54


DETTAGLIO PROSPETTO b

55


INQUADRAMENTO GENERALE _CODICE RILIEVO 193 /FM  M"[JFOEB 5SBOWJBSJB .JMBOFTF SFOEFWBPQFSBUJWBVOBOVPWBBVUPSJNFTTB QFS BVUPCVT F mMPCVT  TJUP BMMBOHPMP USB 7JBMF .PMTF F 7JB $FTBSF -PNCSPTP *M QSPHFUUP FSB TUBUP SFEBUUP EBM 3FQBSUP 'BCCSJDBUJEFMMBTUFTTB"[JFOEB

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D.05

MOLISE

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58

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D.05

STATO DI FATTO


a e d

b f

a b c d e f

JnFTTJCJMJUÃ&#x2039;EJSJVTP

JOUFSFTTFBSDIJUFUUPOJDP

JOUFSFTTFEPDVNFOUBSJP

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TUBUPEJDPOTFSWB[JPOF

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c



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59


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D.05

NOTIZIE PROSPETTO a

60


CORTILE INTERNO

DETTAGLIO PROSPETTO b

61


INQUADRAMENTO GENERALE _CODICE RILIEVO 195 *M EFQPTJUP EFMM"[JFOEB 5SBOWJBSJB .JMBOFTF  TJUP JO WJB $VTUPEJ BM OVNFSP DJWJDP GVDPTUSVJUPOFM*MMPUUPFSB HJร‹PDDVQBUPEBVOJNQJBOUPEJEFQPTJUP  TFNQSFEJQSPQSJFUร‹EFMM"[JFOEB EJWFOVUP DPM UFNQP JOBEFHVBUP BMMB GVO[JPOF EJ SJDPWFSP EFJ USBN QFS MF BVNFOUBUF FTJHFO[FEJTFSWJ[JP

D.07

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

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63


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presenza  di  caratteri   originari

D.07

STATO DI FATTO


b

c a

g

JnFTTJCJMJUÃ&#x2039;EJSJVTP

JOUFSFTTFBSDIJUFUUPOJDP

JOUFSFTTFEPDVNFOUBSJP

QSFTFO[BEJDBSBUUFSJPSJHJOBSJ

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65


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D.07

NOTIZIE PROSPETTO b

66


INTERNO a

67


INQUADRAMENTO GENERALE _CODICE RILIEVO 196 -0GmDJOB(FOFSBMFEFMM"[JFOEB5SBOWJBSJB .JMBOFTF Ã&#x2019; TJUVBUB JO WJB 5FPEPTJP BM OVNFSPDJWJDP&EJmDBUBOFM FSB TUBUB QSPHFUUBUB EBM 3FQBSUP 'BCCSJDBUJ EFMMBTUFTTBB[JFOEB

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D.11

TEODOSIO

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D.11

STATO DI FATTO alta flessibilità


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D.12

SALMINI

72


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73


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basso interesse   architettonico problemi  agibilità

D.12

STATO DI FATTO

74


a b c d

JnFTTJCJMJUÃ&#x2039;EJSJVTP

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JOUFSFTTFEPDVNFOUBSJP

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75


76


CONTEXT

i 

6

COMPARISON

77


JnFTTJCJMJUËEJSJVTP

JOUFSFTTFBSDIJUFUUPOJDP

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UJQPTUSVUUVSFWFSUJDBMJ 'PS[F"SNBUF

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4BMNJOJ 78

4BMNJOJ


INCROCIO DATI

MATCH

79

DPSSJTQPOEPOP NBHHJPNFOUFBMMF OFDFTTJUËEJSJVUJMJ[[P


04

D

D.02

D.07

EFQPTJUJ"5.TDFMUJ EFQPTJUJ"5. BTTPDJB[JPOJHJPWBOJMJ TQB[JDPNVOBMJ

DFOUSJTPDJBMJ NVTFJ UFBUSJ PGmDJOFDSFBUJWF EJTUSFUUJDSFBUJWJ VOJWFSTJUË 80

D.12


D.11

RINSERIMENTO

MAPPA “ATTRATTORI”

81


h 00.14'

D.04 13' FABBRICA VAPORE

13'

m

h 00.

h 00.16' 7,4 Km

D.02

6,8 K

Km

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6,2

Km

12 km ' .22 h 00

THE HUB

9,4

0. h0

D.11

6,1 Km

6 Km

h 00.

14'

D.07 SPAZIO FORMA

ART KITCHEN

82

2,2 Km D.12 h 00.7'

CASCINA CUCCAGNA


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DEPOSITI SCELTI

RETE D’INFLUENZA

LEONCAVALLO o Teodosio

MESSINA

FORZE ARMATE

TICINESE

SALMINI

83


BIBLIOGRAFIA

E SITI DI RIFERIMENTO

84


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85


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

the hub  SPOKES

°ATTACHMENT  04

the HUB


the hub

CENTER OF SOCIAL INNOVATION_ TORONTO PERSONE, LUOGHI, IDEE

1


SOMMARIO THE HUB SPOKES _ attachment  4  

STUDENTE

Ilaria Bollati  735958

RELATORE

Gennaro Postiglione

FACOLTA’

Architettura e  Società  _  Politecnico  di  Milano 2


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

11 | 02 “IF YOU’RE IN, I’M IN ...” “WELL IF YOU’RE IN, I’M IN!” Tonya surman  and  margie  zeidler   making  a  pact  

13 | 03 THEORIES AND MISSIONS ARE GREAT, BUT IT’S THE BUSINESS MODEL THAT DETERMINES VIABILITY... 17 | 04 A GREAT COMMUNITY WORKSPACE REQUIRES THOUGHTFUL CONSIDERATION AT EVERY TURN 27 | 05 SHARED SERVICES ARE THE BASIC INGREDIENTS OF A COLLABORATIVE WORKSPACE. 33 | 06 WE TURN A SHARED WORKSPACE INTO A COMMUNITY SPACE BY INSPIRING AND CONNECTING MEMBERS 40 | BIBLIOGRAFIA

3


4


CONTEXT

1

“WE’RE PART OF A COMMUNITY

THAT’S BUILDING THE SPACES WHERE CHANGE HAPPENS.”

Tonya surman on the emerging shared spaces sector

5


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

mettere nella  stessa  scatola WHY ARE SHARED

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

6

AUMENTANO GLI INCENTIVI. AUMENTANO LE DOMANDE SIA DA ASSOCIAZIONI CHE DA SINGOLI. -FPSHBOJ[[B[JPOJOPQSPmUTVCJTDPOP continui tagli nei bilanci amministrativi, pur affrontando le crescenti esigenze della comunità.


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

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

persone diverse SPACES EMERGING?

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

7


INNOVATION Visione del problema sotto una nuova luce. ComunitĂ costituita da molteplici punti di vista differenti, in grado di apportare un DPOUSJCVUP TQFDJmDP F EJGGFSFO[JBUP BMMB medesima domanda.

COMUNITY Persone collocate in uno spazio confortevole. Felici di trascorrere del tempo in esso, strigono tra loro relazioni.

THEORY OF CHANGE

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

8


CONTEXT

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

CONTEXT

The Hub si configura come ibrido delle 3 direzioni analizzate

i

CO-WORKING _ the hub Rivolto ai singoli â&#x20AC;&#x153;indipendentiâ&#x20AC;?. Nasce nel settore Tech e Design. PiĂš informale e a scala piĂš ridottaCONTEXT rispetto a Co-location

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

i

CO-LOCATION Condivisione dello spazio piĂš o meno permanente tra diverse organizzazioni. In tale divisione si ritrovanospesso PSHBOJ[[B[JPOJOPQSmUDPOTJOHPMF funzioni. Le singole organizzazioni suddividendosi lo spazio riescono ad affrontare costi ridotti e migliorano la missione/obiettivo da perseguire. 9


S 5

< [

D

]

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

FOCUS ON SMALL Si concentra su gruppi con personale costituito da nn piĂš di cinque membri. La stragrande maggioranza dei nostri soci conta una o due persone. Sono questi piccoli gruppi che si trovano nel maggior bisogno di condivisione: guadagnano agevolazioni a livello amministrativo e sono piĂš predisposti alla collaborazione.

PHYSICAL DESIGN

Ingrediente chiave. "QQSPDDJP NPMUP TQFDJmDP QSPHFUUB[JPOFmTJDB

A

QFS

MB

HYBRID OF THESE MOVEMENTS

*

10

ANIMATION AS PRACTICE

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


CONTEXT

2

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

11


Tonya (whose enthusiasm has aba

years) likes to refer to Margie as CS

of the whole operation, as it were. H

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

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

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

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

CSI was created on a cost-recovery

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

was getting started in the first pla

CSI would otherwise have faced:

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

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

of considered myself the member,

co-created, because it was someth

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

48

SOCIAL INNOVATION

CSI è stato creato su un modello di recupero dei costi, cioè, su un piano-conto cui non ci sarebbe abbastanza entrate da canoni di locazione per coprire le spese di funzionamento. $PTĂ&#x2013; MBTmEBQSJODJQBMFmOBO[JBSJBĂ&#x2019;TUBUB di cominciare in primo luogo. Urbanspace Property Group ha sottoscritto il build-out dello spazio e lo start-up per la locazione CSI, incluso il supporto parziale dello stipendio 48 del direttore esecutivo e mezzo lo stipendio di un tor-amministrative per il primo anno, cosĂŹ come un interesse -di prestito gratuito di $ 52.000 - Un investimento 12

SOCIAL CHANGE LENS

iniziale di un totale di oltre 250.000 dollari. Tonya, nel frattempo mettere in secchi di equitĂ sudore: ha portato la sua prassi di successo di consulenza e le sue entrate nel Centro, e ha continuato a prendere JO BUUJWJUĂ&#x2039; EJ DPOTVMFO[B  mOP BM RVBSUP anno di CSI di funzionamento essenziali per il funzionamento dellâ&#x20AC;&#x2122;Osservatorio mOBO[JBSJBNFOUF &OUSBNCJ TPOP TUBUJ agganciati su lâ&#x20AC;&#x2122;idea di quello che potrebbe essere possibile.


CONTEXT

3

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

13


UTILITY VS WHIMSICAL Lo spazio deve essere innanzitutto funzionale per i soci. 2VFTUP TJHOJmDB NBOUFOFSF TQB[J puliti e garantire il comfort lavorativo (fotocopiatrici, stampanti, internet, ecc). Sviluppo inoltre della componente ludica BMmOFEJBMMFHHFSJSFJMMBWPSPJOUFSWFOUJDIF danno vita e leggerezza allo spazio, come le pareti dei messaggi, foto di membri, i QSPmMJ EFJ NFNCSJ  P BODIF HJPDIJ EB tavolo e blocchi costruttivi!

ADD A LAYER OF SHARED SERVICES

SUBLET TO INDIVIDUALS & ORGANIZATIONS

RENT SPACE FROM LANDLORD

A WORKSPACE OPTIONS

THE THIRD PARTY OPERATOR

14


HOT DESKS Massimo 6 mesi. Diinamismo spaziale. Temporanee e distribuite nelle zone adibite a coworking.

OFFICE SPACE Almeno 12 mesi. 6GmDJBGmEBUJBEBTTPDJB[JPOJTPMJUBNFOUF OPQSPmU .BHHJPS TUBCJMJUĂ&#x2039; F SJHJEJUĂ&#x2039; rispetto allle permanent desks.

PERMANENT DESKS Via di mezzo tra i primi due. Almeno 12 mesi. 15


LOCATION

#1

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

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

adaptive riuse EDIFICIO tiene conto: t t t

#2

presenza e quantitĂ di luce naturale carattere architettonico e caratteristiche estetiche TUPSJBFTQJSJUPEFMMFEJmDJPTUFTTP

A SITE SPECIFIC ADAPTIVE RIUSE

16


CONTEXT

4

A GREAT COMMUNITY WORKSPACE REQUIRES THOUGHTFUL CONSIDERATION AT EVERY TURN.

17


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

t Utilizzare

MOBILI COMPONIBILI:

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

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

tAREE DI SERVIZIO per la stampa, fax e copia. Assicurarsi che le persone possono lavorare facilmente in quegli spazi

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

TIPS FOR A FUNCTIONAL SPACE tATTENZIONE al design di alta gamma . Mantenere i costi di sostituzione in mente quando fare acquisti.

t NON tentare di fare

TUTTO IN UNA

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


ES

Ho

KS

es tD ks %

Workspace

Workspace by Income

DES

Offices OFFICE

%

sks DeS

59%

18

23

K

THE HUB _ VIENNA

This chart illustrates a key characteristic of the model: Hot Desks generate six times more income relative to their footprint. Remember that youâ&#x20AC;&#x2122;ll have multiple members cycling through the same spaces; in our case, we have 100 members in 20 workstations. As a result, the most profitable workspaces are those that focus on Hot Desks. But Hot Desks require heavier administration and ongoing recruitment. Think carefully about your approach - the layout of the space should flow from your vision.

THE HUB _ AMSTERDAM

ture. Hot room to

HO TD

19


TIPS FOR MEETING SPACES t

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

t

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

t

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

t

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

t

Vicinanza a una cucina per eventuali eventi

THE HUB _ HELSINKI

20

SALE RIUNIONI


Ogni organizzazione organizza riunioni, almeno occasionalmente. Lo spazio dovrebbe così offrire una varietà EJ TBMF SJVOJPOJ EBUF EJWFSTF mOBMJUË  EBJ laboratori alle interviste. "GmUUBSF TQB[J EJ RVFTUB OBUVSB BE VO pubblico esterno serve alcuni obiettivi fondamentali: t

t

generare ENTRATE all’organizzazione

UTILI

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

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

THE HUB _ CAPE TOWN

21


THE HUB _ MADRID

ALCUNI INTERVENTI E DECISIONI PROGETTUALI NON VENGONO IMMEDIATAMENTE METABOLIZZATI. Le persone tendevano ad oscurarle per creare dei propri spazi secondo la prassi comune. Sempre con lâ&#x20AC;&#x2122;intento di aumentare il senso di condivisione e scambio, ogni VGmDJP QSJNB EJ QBTTBSF WFSTP MP TQB[JP comune si organizza in un salotto con tavoli sedie, e divani in vista dello spazio comune. Fusione tra spazio personale e professionale.

CORRIDOI VETRATI

22


Eâ&#x20AC;&#x2122; stato provato che le persona lavorano meglio se sono sempre informate su ciò che accade intorno e sono viste al tempo stesso. â&#x20AC;&#x153;occhi sul corridoioâ&#x20AC;? slogan simile agli â&#x20AC;&#x153;occhi sulla stradaâ&#x20AC;? di Jacobs. Il miglior funzionamento è decretato dalle QBSUJJODPNVOFEFMMFEJmDJP Il modo per ottenere tale apertura è la luce. In Germania vige la regola che â&#x20AC;&#x153;non si può mettere un lavoratore piĂš di cinque metri di distanza da una sorgente luminosa naturaleâ&#x20AC;?. Le persone non dovrebbero stare dove non possono godere di luce naturale.

THE HUB _ OPORTO

TUTTI GLI UFFICI SONO PERIMETRALI. Si migliora cosĂŹ la circolazione dellâ&#x20AC;&#x2122;aria e la climatizzazione degli ambienti. -F WFUSBUF OPO BSSJWBOP BM TPGmUUP QFS lasciare un interstizio che permetta la diffusione acustica. Come non si può far a meno di ascoltare il vicino anche noi veniamo ascoltati dal vicino stesso. Questo non per tradire la privacy (esistono cabine per chiamate private ad esempio) ma per rafforzare lâ&#x20AC;&#x2122;idea di comunitĂ . 23


LA SICUREZZA DELLO CONDIVISO È ESSENZIALE. t

fornire una certa separazione tra le BSFFDPNVOJQJáUSBGmDBUFFMFBSFFEJ lavoro

t

collocare la zona Hot Desk nei pressi di una uscita come strategia per SJEVSSFBMNJOJNPJMnVTTPEFJNFNCSJ più transitori

t

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

THE HUB _ ROVERETO

24

SPAZIO

SICUREZZA


t

Uno spazio condiviso

NON È UNA BIBLIOTECA t

Limitare l’uso di altoparlanti-telefoni

t

Dividere lo spazio in modo tale che gli

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

THE HUB _ ROVERETO

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

GESTIONE RUMORE

25


THE HUB _ MADRID

26


CONTEXT

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

i

27


1/PHOTOCOPYING AND PRINTING

6/MEETING ROOMS

2/HIGH-SPEED INTERNET

7/COFFEE/TEA 8/SECURITY

3/FAX MACHINES

9/CLEANING

4/MAILBOXES

10/AUDIO-VISUAL EQUIPMENT

5/KITCHEN FACILITIES

Ÿ)NTERNET

Ÿ)NTERNET

TOCOPIER 0RINTERS

SERVIZI CONDIVISI

LIPCHARTS

-ACHINE

EBOARDS

EŸBOOTHS

0ROJECTOR

28 ŸPHONES

completamente n disaccordo disaccordo neutrali favorevoli completamente favorevoli

6 & & 9 ) &


La fornitura di servizi condivisi è una delle ragioni principali per cui persone diverse si uniscono in uno spazio condiviso. Vengono così facilitate soprattutto le piccole organizzazioni che si possono concentrare più facilmente sulle loro missioni usufruendo di servizi dati e amministrati da terzi.

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

(!2%$3%26)#%3

Wireless Internet 7IRELESSŸ)NTERNET

QUALI ESSENZIALI?

Wired Internet 7IREDŸ)NTERNET Photocopier 0HOTOCOPIER Printers 0RINTERS Flipcharts &LIPCHARTS Fax Machine &AXŸ-ACHINE Whiteboards 7HITEBOARDS Phone booths 0HONEŸBOOTHS Projector 0ROJECTOR Speaker phones 3PEAKERŸPHONES Storage lockers 3TORAGEŸLOCKERS Nap room .APŸROOM VolP system 6O)0ŸSYSTEM Hot Desks Phone (OTŸ$ESKSŸ0HONE DVD Player $6$Ÿ0LAYER PA system 0!ŸSYSTEM

29


La cucina_ comune la

tra i vari tipi di spazio in

RIVESTE UN RUOLO FONDAMENTALE. In linea con l’etica dell’ open-concept (alla CBTF TJB MP TQB[JP F MB mMPTPmB EFM $4*  la cucina non ha muri, e si fonde senza soluzione di continuità in un’accogliente zona divano. Gli armadi sono provvisti di piatti e utensili,

THE HUB _ MLANO THE HUB _ PRAHA

30

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

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


CUCINA

THE HUB _ BRUSSELS

31


THE HUB _ROVERETO

32


CONTEXT

6

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


t MISSIONE SOCIALE:

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

t VALORI CONDIVISI:

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

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

t INNOVAZIONE:

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

mettere  nella  stessa  scatola   t PARTECIPAZIONE CULTURALE

MULTI-

t COMUNITĂ&#x20AC;

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

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

SELEZIONE MEMBRI

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

t ENERGIA:

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

t PRIORITĂ&#x20AC; NON PROFIT:

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

34


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

persone diverse SPACE + COMUNITY

=

INNOVATION

THE HUB _ SAO PAOLO

persone che vogliono essere imprenditori del proprio tempo, dei propri sogni e azioni. 35


MEMBER CAPACITY EXSPANDED CAPACITY

IMPACT

COLLABORATION

36


THE HUB _ TAMPERE

THE HUB _ BRUSSELS

L’obiettivo di animazione della comunità è di creare un

t

contribuisca ad un senso di comunità

AMBIENTE FISICO E SOCIALE

t

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

t

risolva i problemi e le unità di servizio al cliente

t t

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

37


Profit Profit Profit PEOPLE _ PROFIT _ PLACE

THE HUB _ SAO PAOLO

38


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

39


BIBLIOGRAFIA

E SITI DI RIFERIMENTO

40


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

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

Colloqui in loco con Nicolò Borghi _ The Hub Milano

41


°ATTACHMENT 05

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

the hub  SPOKES

WS _  viaggio  nella  città


ws

NOEMI SATTA

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

1


SOMMARIO THE HUB SPOKES _ attachment  5    

STUDENTE

Ilaria Bollati  735958

RELATORE

Gennaro Postiglione

FACOLTA’

Architettura e  Società  _  Politecnico  di  Milano 2


05 | 01 PERCHE’ IL WORKSHOP? viaggio nella  città

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

3


Noemi Satta è consulente di marketing per i musei e per i territori. Intreccia a queste attività quella delle metodologie di sviluppo partecipativo per coinvolgere la cittadinanza e stimolarne la progettualità o la responsabilizzazione sulle scelte per il proprio territorio Struttura e facilita workshop di intervento territoriale, di analisi culturale, di esplorazione del territorio, di progettazione strategica e di arte pubblica. Il workshop è un modulo operativo a metà tra la consulenza, la formazione e la facilitazione di gruppo, che permette un apprendimento dato dal learning by doing.

4


CONTEXT

i

1

PERCHE’ IL WORKSHOP? VIAGGIO NELLA CITTA’

5


Si tratta di un Workshop tenutosi tra il 13 e 14 giugno 2009 a Milano. Nasce con lo tentativo di attivare un brain storming. Unâ&#x20AC;&#x2122;immersione nel territorio della Cascina Cuccagna, con lâ&#x20AC;&#x2122;obiettivo di individuare temi, valori, caratteristiche, curiositĂ , impressioni su Milano. Si genere per cui con motivazioni differenti rispetto a quelle prese in esame nel processo logico di questa tesi. Nonostante ciò, costituisce un analisi preziosa nel capire quali attivitĂ  è possibile associare a quelle proposte da The Hub e che sinergie possano crearsi con le precedenti. Si struttura come viaggio urbano, unâ&#x20AC;&#x2122;esplorazione. Unâ&#x20AC;&#x2122;intenso weekend di discorsi, colori, passi, sguardi, parole, cibi, ascolti.

MAPPARE

6

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

OBIETTIVI E FASI STABILITE TEMATIZZARE

INDIVIDUARE


CONTEXT

i

2

METODOLOGIA

7


t (PRE)VISIONI. CARTOLINE â&#x20AC;&#x153;SALUTI DA MILANOâ&#x20AC;? 4JJOJ[JBBSJnFUUFSFFBDPOEJWJEFSFJQSPQSJ stereotipi e pregiudizi su Milano.

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

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

PROFILI GENERALI DECENTRAMENTO

t DISTILLATI E SINTESI

8


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

CARTOLINE

9


10


CONTEXT

2

i START

11


CARTOLINE

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

(PRE)VISIONI CARTOLINE "SALUTI DA MILANO" Il lavoro è partito da alcune frasi segnate su cartolinette quadrate. Le frasi (non viene svelato subito) sono tratte e liberamente rielaborate (in modo che siano aperte e che lascino possibilità di ricerca) da una serie di interviste fatte a persone che lavorano nel progetto della Cuccagna da tempo. In questa fase servono solo per fare delle associazioni di 12

pensiero e formare dei gruppi. 4JJOJ[JBBSJnFUUFSFFBDPOEJWJEFSFJQSPQSJ stereotipi e pregiudizi su Milano. Verranno poi scritti e attaccati su un cartellone, e JOmOFQSFTFOUBUJBMHSVQQPJOUFSP Trascrizione non organizzata (per lasciare ancora aperto il discorso) dei diversi post it e le diverse idee.


t t t t t t t

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

t MANCANZA DI SPAZI LIBERI t t t

t

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

t MILANO CATINO t

t t t

(sei sempre dentro. Come astrarsi e guardarla da lontano?) Ritorna all’isola con molti racconti. Un esempio di un lavoro fatto a Milano, nel quartiere isola, un’immagine composita, per dire che cos’è Milano Grandeur: tutto è grande, bello, importante, a Milano Consumo Passaggio

t CONTRASTO t t

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

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

t FLUSSI E RICIRCOLO DI CORRENTI t

t

t

scambi o persone che vanno e che vengono Milano trolley: Il trolley è dappertutto, agli aperitivi, al lavoro… simbolo di una città da cui si scappa nei weekend, in cui si è sempre in movimento Mancanza di stupore. Vivere in questa città a volte fa perdere lo sguardo stupito verso le cose… Eventi apparire e innovare. Ovunque e sempre ci sono eventi a Milano. Da una parte un modo per apparire, ma qualche volta portano un tentativo di innovazione

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

t ACCUMULO t MILANO AGENDA.

Tutto viene segnato in agenda: persino un banale appuntamento con un amico. Quante volte alla richiesta di vederci ci è stato risposto: “Ok ti metto in agenda” o “Devo controllare l’agenda”? 13


COSA TI SORPRENDE? COSA È CULTURA (a Milano  e  non  solo)? PLAY 40

CON LE CARTE

PLAY 40 DI ISAO HOSOE

14


Nasce da unâ&#x20AC;&#x2122;elaborazione di Play 40 di Isao Hosoe. Play 40 è un gioco di creativitĂ per stimolare fasi di brain storming, da applicare in qualunque situazione, ma con esempi, nelle istruzioni del gioco, legate soprattutto al design di oggetti. E il design di concetti? Serviva avere un momento per fare un passaggio in avanti, e che fosse del tutto libero o liberato dalle strettoie del giĂ  saputo o immaginato su Milano. Immaginare di nuovo qualcosa per la cittĂ  e farlo prima di mettersi sulla cartina B EFmOJSF JM QSPQSJP USBHJUUP RVFTUB FSB lâ&#x20AC;&#x2122;intenzione. Il gioco è stato dunque rielaborato per poter permettere ai partecipanti di costruire OVPWF JNNBHJOJ  OVPWF EFmOJ[JPOJ 4POP

state inserite le cartolinette tratte dalle interviste e alcuni dei post it delle fasi precedenti (scelte dai partecipanti). Un OVNFSP EFmOJUP QFS PHOJ HSVQQP  UFNQJ dati per ogni giro, due domande per giocare. Cosa ti sorprende? Cosa è cultura (a Milano e non solo)? -F SJTQPTUF TJ TPOP BOEBUF EFmOFOEP piano piano. %PQPBWFSQSFTPDPOmEFO[BDPOJMHJPDP (primo giro molto libero, giri successivi piĂš costretti nel seguire una sequenza) si è tentato di costruire un discorso collettivo. Pensando veloce, perchĂŠ lâ&#x20AC;&#x2122;attenzione rimanesse tesa e non calasse.

IMMAGINE COSA TI SORPRENDE O TI SORPRENDEREBBE A MILANO?

t t t t t t t t t t t

DIMENSIONE DINAMICA $JĂ&#x203A;DIFDPOUJOVBOFMUFNQP 5SBHJUUJFHJSFUUJ 'PSNBEFMMPTQB[JP $VSWB 5FSSJUPSJBMJUĂ&#x2039; "MBZBTIJLJ &SPUJTNP "GmOJUĂ&#x2039; 4FSFOEJQJUZ 0TTFSWBSF

t

DIFFERENZA 4$".#*0

t t t t t

6TP 5SJDLTUFS GPUP

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4FOTPSJBMJUĂ&#x2039; 'VHBDJUĂ&#x2039;

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1BTTBHHJP 5SBTGFSJSF 4JDVSF[[BEJTĂ? 4FNQMJmDBSF &OFSHJBDPNQPSUBNFOUBMF *EFOUJUĂ&#x2039;NJMBOFTF "QFSUVSB 3BDDPOUBSF (SBEPEJMJCFSUĂ&#x2039; $BSUBCJBODB %JNFOUJDBSF

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RACCONTARE

15


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

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

PLAY 40

t SFONDARE I CONFINI t

Paesaggio

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

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

t CONNETTERE t SORPRENDERE t t t 16

Chi produce cultura oggi? Trasferire Cosâ&#x20AC;&#x2122;è la cultura?

SECONDA MANO


SI RILANCIA LA DOMANDA Nel rilanciare la domanda implicitamente, senza dichiararlo apertamente, pensavamo a quei luoghi che possono essere luoghi di cultura (lasciando libera l’interpretazione, e non intendendo quindi luoghi istituzionali della cultura). Le risposte come vedete sono interessanti. L’elenco sciolto è questo: t t t t

Sperimentare Dimenticare "GmOJUË Come? Dove?

t DENTRO/FUORI PAGAMENTO

GRATIS/A

t

t

Triennale Mostre gratis e a pagamento Bar+Parco+mostre: giacimento di patrimoni e laboratori H&M a Milano: espressione del tempo presente e senso estetico. Anche H&M è luogo di cultura se lo si considera come espressione del tempo presente Zona Tortona è diventata Zona Tortona: uscita dal nulla. Esempio di trasformazione culturale di un quartiere, anche grazie alle competenze

Luoghi di cultura: bello se non istituzionalizzato Sarebbe bello avere dei luoghi di cultura iTQPOUBOFJwFOPODPEJmDBUJ t t t t

vita Caffè Luoghi del cibo Biblioteca Incontro tra culture a Milano

t CENTRI SOCIALI t t t

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

t t t t

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

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

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

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

Assenza di posti semplici e non luccicanti L’interesse e l’uso intensivo Fenomeni come critical mass $JDMPGmDJOBDPNFDVMUVSBEJNPEFMMJEJ 17


18


CONTEXT

3 NOTE A MARGINE

i

19


Ă&#x2C6; un luogo, anche metaforico, i cui DPOmOJ TPOP EB TGPOEBSF 3JHVBSEB JM paesaggio, le differenze, anche lâ&#x20AC;&#x2122;iniziativa del prendere nuovi percorsi. Lâ&#x20AC;&#x2122;innovazione nella ricerca ma anche nellâ&#x20AC;&#x2122;affrontare le differenze, con un grado di libertĂ . Ha a che fare con la sensorialitĂ , con MFTQFSJFO[B DPOMBTUSBUJmDB[JPOFFJOmOF con lâ&#x20AC;&#x2122;immagazzinare nellâ&#x20AC;&#x2122;apprendere continuo, che rilancia. PerchĂŠ la cultura è dimenticare (quanto appare importante questa voce, se si pensa al tradizionale modo di intendere lâ&#x20AC;&#x2122;ecomuseo, come luogo delle memorie e delle tradizioni), è sperimentare. Analizzando i diversi cartellini, e le loro sequenze ricostruite, emergono ulteriori TQVOUJ TVJ RVBMJ WBMF MB QFOB EJ SJnFUUFSF ancora: t %JOBNJDB HSBUJTB QBHBNFOUP DIF investe anche i luoghi culturali. Le barriere allâ&#x20AC;&#x2122;accesso e la permeabilitĂ  EFJ MVPHIJ  RVBOEP JM mMUSP Ă&#x2019; TPMP MB disponibilitĂ  economica. t -BEJGmDPMUĂ&#x2039; FMBOFDFTTJUĂ&#x2039; EJFTTFSF contemporanei: cosa implica la contemporaneitĂ ? Può implicare osservare anche H&M come un

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luogo di produzione culturale? queste considerazioni provocanti portano a ripensare radicalmente quello che chiediamo a un luogo culturale, e nella mappatura ciò che inseriamo nei luoghi culturali Competenze diffuse senza fermarsi BMMB DPOUSBQQPTJ[JPOF BMUPCBTTP MFTFNQJP EFMMB DBTB EJ NPEB  TJTUFNBEJQSPEV[JPOFDVMUVSBMFDIF prevede le competenze anche al livello piĂš â&#x20AC;&#x153;bassoâ&#x20AC;? della sartinaâ&#x20AC;Ś). Quali competenze diffuse? Quali devono esserci per progettare e per costruire in modo condiviso? Quali devo riconoscere per attraversare e vivere un tessuto culturale diffuso nel territorio? Importanza dei luoghi culturali anche non istituzionalizzati (i caffè, i cortili, le rotonde, i gradini dei negozi â&#x20AC;&#x201C; lo WFESFNP EPQP OFMMB NBQQBUVSB  HMJ interstizi di verde nel territorio che promuovono aggregazione, soste, TDBNCJ  QPTTJCJMJUĂ&#x2039;  BMDVOJ OFHP[J  alcune strade, etc etc) li abbiamo immaginati tutti questi luoghi culturali ancora non istituzionalizzati?

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

GIOCO CARTE

20


RILANCIO DOMANDA

21


22


CONTEXT

4

i STOP NEXT

23


DECISIONE ITINERARIO

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

DEFINIRE IL TRAGITTO Durante la fase di mapping i partecipanti hanno deciso gli itinerari da percorrere per esplorare il territorio. Le esplorazioni sono state effettuate a gruppi o singolarmente. Le regole erano assolutamente libere, con la preferenza di percorrere l’itinerario a piedi e 24

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


Restituzione dell’esplorazione.  Cosa  si  è   osservato?

25


26


CONTEXT

5

i

VOCAZIONI DEL TERRITORIO

27


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

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

Bellezza, ozio, colori, poesia, curva, OPBJN

t TEMPO TRA LAVORO E CONSUMO t

Abitare non solo tornare a dormire

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

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

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

Abitare tempo Sostare

DISTILLATI

E SINTESI


t

Ozio e operositĂ

t SPAZIO E TEMPO RITROVATO t t t

Abitare 4USBUJmDB[JPOF MolteplicitĂ e contrasto

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

PossibilitĂ di incontri e mescolanze

t SCAMBIARE ESPERIENZE PER INNOVARE t

Creare occasioni inaspettate

t SGUARDI DIVERSI E COMPLEMENTARI t t

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

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

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

t LUOGO DI PASSAGGIO (STRATI) t

1BFTBHHJ JOGSBPMUSF  (attraversamenti)

t ANDAMENTO DEL RITMO QUOTIDIANO E PRODUTTIVO

SPAZIO E TEMPO RITROVATO ANDAMENTO DEL RITMO QUOTIDIANO E PRODUTTIVO

CONTENITORI Dâ&#x20AC;&#x2122;INCONTRI

+

SCAMBIARE ESPERIENZE PER INNOVARE

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


BIBLIOGRAFIA

E SITI DI RIFERIMENTO

30


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

/0&.* 4"55"    XXXm[[JU  BSUJDPMP dal titolo â&#x20AC;&#x153;Partecipare al patrimonio. 3JnFTTJPOJ TV OVPWF NPEBMJUĂ&#x2039; EJ SBQQPSUP tra pubblico, patrimonio culturale e territorioâ&#x20AC;? documentazione scritta e video WS creativo dellâ&#x20AC;&#x2122;ecomuseo, cascina $VDDBHOB .JMBOPHJVHOP http://www.rietveldlandscape.com/en/ news/441

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theHubSpokes_annex  

case studies and other documents connected to the diploma work

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