design beyond borders

CONFERENCE PROCEEDINGS SENSES & SENSIBILITY THE 9TH INTERNACIONAL CONFEFENCE

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DESIGN BEYOND BORDERS AND

RHIZOMES AFFILIATED CONFERENCE

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Senses & Sensibility: Design Beyond Borders and its affiliated conference Rhizomes

Copyright: Individual papers are copyright 2017 by individual authors. Permission to quote from this book in part or in full is granted with proper attribution and acknowledgment of sources.

Editors

Emília Duarte Susana Gonzaga Ana Nolasco

Title: Senses & Sensibility’17: Design Beyond Borders and Rhizomes Collection: Proceedings book of UNIDCOM/IADE Conferences First Published: October 2017 ISBN: 978-989-8473-23-3

Proceedings of the 9th International Conference, Senses & Sensibility Design Beyond Borders and Rhizomes 24-27 October 2017, Funchal, Madeira Island, Portugal http://senses2017.unidcom-iade.pt/

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017

COMMITTEES Scientific committee Agnese Rebaglio, Politecnico di Milano, Italy Álvaro Sousa, Universidade de Aveiro, Portugal Américo Mateus, Universidade Lusófona, Portugal Ana Margarida Ferreira, IADE, Universidade Europeia, UNIDCOM, Portugal Ana Nolasco, UNIDCOM, Portugal Anabela Couto, IADE, Universidade Europeia, UNIDCOM, Portugal Andrea Gaggioli, Università Cattolica del Sacro Cuore di Milano, Italy António Cruz Rodrigues, IADE, Universidade Europeia, UNIDCOM, Portugal Carlos Duarte, IADE, Universidade Europeia, UNIDCOM, Portugal Carlos Rosa, IADE, Universidade Europeia, UNIDCOM, Portugal Cláudia Albino, Universidade de Aveiro, Portugal Cláudia Mont’Alvão, Pontifícia Universidade Católica do Rio de Janeiro, Brazil Cristiana Serejo, Instituto Politécnico do Cávado e do Ave, Portugal Cristina Caramelo Gomes, Universidade Lusíada, Portugal Cristina Pinheiro, IADE, Universidade Europeia, UNIDCOM, Portugal Daniel Brandão, Instituto Politécnico do Cávado e do Ave, Portugal Daniel Raposo, Instituto Politécnico de Castelo Branco, Portugal Davide Fassi, Politecnico di Milano, Italy Dina Riccò, Politecnico di Milano, Italy Eduardo Gonçalves, IADE, Universidade Europeia, UNIDCOM, Portugal Elisa Bertolotti, Universidade da Madeira, Portugal EmÍlia Duarte, IADE, Universidade Europeia, UNIDCOM, Portugal Ernesto Vilar Filgueiras, Universidade da Beira Interior, Portugal Fernando Oliveira, IADE, Universidade Europeia, UNIDCOM, Portugal Francesca Tosi, Università degli Studi di Firenze, Italy Francisco Rebelo, Universidade de Lisboa, Portugal Gabriele Oropallo, University of Oslo, Norway Hande Ayanoglu, IADE, Universidade Europeia, UNIDCOM, Portugal Helena Barbosa, Universidade de Aveiro, Portugal Inês Secca Ruivo, Universidade de Évora, Portugal Isabel Farinha, IADE, Universidade Europeia, UNIDCOM, Portugal João Rui Marcelino, Universidade de Lisboa, Portugal Laura Galuzzo, Politecnico di Milano, Italy Loredana Di Lucchio, Sapienza Università di Roma, Italy Lucy C. Niemeyer, UNIDCOM, Portugal Maria Helena Souto, IADE, Universidade Europeia, UNIDCOM, Portugal Maurizio Teli, Universidade da Madeira, Portugal Nelson Zagalo, Universidade de Aveiro, Portugal Nicos Souleles, Cyprus University of Technology, Cyprus


Paola Trapani, Unitec Institute of Technology, New Zeland Patrick Pradel, Nothingham University, UK Paula Trigueiros, Universidade do Minho, Portugal Raul Cunca, FBAL, Universidade de Lisboa, Portugal Richard Perassi, Universidade Federal de Santa Catarina, Brazil Rui Mendonça, Universidade do Porto, Portugal Satu Miettinen, University of Lapland, Finland Sérgio Lemos, Universidade da Madeira, Portugal Sónia Matos, Universidade da Madeira, Portugal Susana Gonzaga, Universidade da Madeira, Portugal Teresa Chambel, Universidade de Lisboa, Portugal Teresa Sarmento, ESAD – Matosinhos, Portugal Valentina Vezzani, Universidade da Madeira, Portugal Vasco Branco, Universidade Aveiro, Portugal Viviane dos Guimarães, Universidade Federal de Uberlãndia, Brazil Pekka Korvenmaa, Aalto University, Finland Dirk Loyens, ESAD – Matosinhos, Portugal Nancy Duxbury, Simon Fraser University, Canada

Organizing committee Conference Chairs Emília Duarte, IADE, Universidade Europeia, UNIDCOM, Portugal Susana Gonzaga, Universidade da Madeira, Portugal Ana Nolasco, UNIDCOM, Portugal

Design

André Filipe Rodrigo Mesquitela

Web Design

Bruno Nobre, IADE, Universidade Europeia, UNIDCOM, Portugal Rita Boto, UNIDCOM, Portugal

Photography

Cláudia Moniz

Staff

Joana Marques Luísa Freitas Mónica Luís Pedro Lourenço Sara Henriques Rodrigo mendonça Vanessa Fernandes Ulisses Andrade


Session chairs Ana Nolasco, UNIDCOM Elisa Bertolotti, Departamento de Arte e Design, Universidade da Madeira Cristina Pinheiro, IADE, Universidade Europeia, UNIDCOM, Portugal Ana Margarida Ferreira, IADE, Universidade Europeia, UNIDCOM, Portugal Duarte Encarnação, Departamento de Arte e Design, Universidade da Madeira Isabel Farinha, IADE, Universidade Europeia, UNIDCOM, Portugal Susana Gonzaga, Universidade da Madeira Paula Trigueiros, U.do Minho

KEYNOTES SPEAKERS Design Beyond Borders Guy Julier, University of Brighton Guy Julier is Professor of Design Culture at the University of Brighton and Principal Research Fellow in Contemporary Design at the Victoria & Albert Museum, UK. He has over 30 years experience in design education and practice ranging from pre-University teaching to post-doctoral supervision. Formerly a Visiting Professor at the Glasgow School of Art, Otago University and the University of Southern Denmark, he has also advised on design policy to various governmental organisations and led strategy projects on developing design research for the Arts and Humanities Research Council. As Professor of Design at Leeds Metropolitan University until 2010, he established DesignLeeds, a research and consultancy unit specialising in developing new approaches to urban regeneration. His research sits at the meeting point of design and the social sciences, both in terms of its contemporary practice and historical enquiry. Most recently he has developed work on the role of design in neoliberalisation processes, resulting in his new book Economies of Design. He is also the author of The Culture of Design (3rd edition 2014) and co-editor of Design and Creativity: Policy, Management and Practice (2009).

Thomas Pausz Thomas Pausz (Iceland/France) creates scenarios for alternative material cultures. Through collaborations and local experimentations in circular thinking, Thomas designs new processes to foster social and environmental change. Using a variety of media, his work stems from a reflection on systems and energy, where a central part is given to food production and locality. Recent collaborative projects include a Museum-Archive of Icelandic Material Culture in Reykjavik (Points of View, 2016), a series of workshops and text on the future of Food Systems in Iceland (Substitutions, 2015), and an online radio on Animal Ethics (Animal Radio 2015). Personal exhibitions include Hortus Praxis at MUDAM (2012-ongoing), Three Blue Rituals for Comme Des Garcons Berlin (2013), Social Soap, Paris Suburbs (Short Film, 2009). Revisiting The Community Shed (Archival Publication, 2009 & 2012). Thomas


graduated from the MA in Design Products at the Royal College of Arts and received a Design Fellowship in Design from the Akademie Schloß Solitude in Stuttgart 2013. Thomas was a resident at the Delfina Foundation in London 2016. he is currently assistant Professor at the Iceland Academy of The Arts, where he teaches process design and system thinking. Thomas is co programme leader for the Masters programme at LHI, and speaks internationally on design and cultural topics.

Nini Andrade Silva Is a worldwide prestigious interior designer, distinguished with several design prizes, due mainly to her work in hotels Design. Born in Funchal, Nini graduated in Design at the Institute of Visual Arts, Design and Marketing (IADE) in Lisbon, and simultaneously pursued her academic and professional experience abroad, where she studied and worked in New York, London, Paris, South Africa and Denmark. With an impressive work across the world, Nini have seen several times her work distinguished and becoming a constant presence in prestigious publications worldwide - New York Times, Financial Times, Harrolds, Condé Nast Traveller, Rolls Royce Excellence Guide, Wallpapper, Monocle, among others. In June 2011, Nini was distinguished by the President of Portugal, Prof. Cavaco Silva, with the Honored Title “Grau de Oficial da Ordem do Infante D. Henrique”, by her rendered outstanding service to Portugal, within and abroad. Nini has left her mark in various areas of society both academic and professional, reason because she's often asked to be speaker at various conferences, lectures and debates. The invitations come from different areas such as Universities, Cultural Institutions, TED Talks, Fairs, Seminars, and so on.

Teresa Franqueira, Universidade de Aveiro Teresa is a designer and professor at Aveiro University. Senior researcher at the ID+ Research Unit, coordinator of the ID+ DESIS Lab, and member of the international committee of the DESIS Network – Design for Social Innovation and Sustainability. She has developed her research at the Politecinco di Milano in the Research Unit “Design and Innovation for Sustainability” with Ezio Manzini and her research interests focus on themes related to service design and social innovation, and alternative scenarios towards more sustainable economic, cultural social models. Within this scope she has published various papers and participated in several international conferences. She has been invited as a keynote speaker and to take part in several workshops, particularly in relation to scenario building and the identification of possible solutions to be used for specific projects in creative places for urban regeneration culturally driven (Italy, Portugal, Sweden, UK, Finland and Brazil). She has organized the Spring Cumulus Conference in 2014 being the ScientifiC Organizer and Chair of the conference and has been organizing and leading several Design for Social Innovation Workshops with portuguese municipalities.Currently she is coordinating 3 Erasmus projects at the University of Aveiro (Strategy for Change, SEASIN and Katch-e).


Rhizomes Abraão Vicente, Minister of Culture and Creative Industries of Cape Verde Sociologist, painter and self-taught photographer with exhibitions in several countries and featured in renowned private collections. Born on the island of Santiago, in Cape Verde, Abraão Vicente studied sociology at the Nova University of Lisbon, with a thesis on the artistic field in Portugal during the 20th century. He has published the following titles: "O Trampolim" (Novel, Kankan Studio ed. 2010), "E de repente a noite" (Poetry, Kankan Studio ed. 2012), "Traços Rosa Choque (Anthology, Lua de Marfim 2012), "1980 Labirintos" (Prose poetry, Moon of Ivory 2013), "Amar 100 Medo, cartas improváveis & outras letras " (Poetry, Kankan Studio, 2014). He is represented in the short stories anthology "Dez Contos para ler Sentado" (Caminho, 2012), Djosa. Terra, Pão & Mar (Rosa de Porcelana, 2016), Cabo Verde: 100 poemas escolhidos (Pedro Cardoso Bookstore, 2016).

Godfrey Baldacchino, University of Malta Godfrey Baldacchino PhD (Warwick), BA (Gen.) (Malta), PGCE (Malta), MA (The Hague) is Pro-Rector for International Development and Full Professor of Sociology, Department of Sociology at the University of Malta, Malta. He is also UNESCO co-Chair in Island Studies & Sustainability (a position shared between the University of Prince Edward Island (UPEI), Canada and the University of Malta. He is Editor Emeritus of island Studies Journal (ISSN: 1715-2593), now indexed in Web of Science. He served as Visiting Professor of Island Tourism at the Universita' di Corsica Pascal Paoli, France (2012-2015). He was Member and Chair of the Malta Board of Cooperatives (19942003) and core member of the Malta-European Union Steering & Action Committee (MEUSAC). In 2008-2010, he was Vice-President of the Prince Edward Island Association for newcomers to Canada . In 2014, he was elected President of the International Small Islands Studies Association (ISISA). In June 2015, he was elected Chair of the Scientific Board of RETI, the global excellence network of island universities.


FOREWORD DESIGN BEYOND BORDERS

The 9th edition of the International Design Conference, Senses & Sensibility is proud to present this edition theme: Design Beyond Borders. In a globalized society, a cultural centralization paradoxically emerges, dictating patterns, trends and somehow defining, to a certain extent, a universal design thinking and practice. Nevertheless Design operates within different contexts that define its program and many times influence’s practice and ultimately final solutions. This year we pretend to reflect and discuss the role of Design in peripheral areas. The concept of borders can be understood in geographical, as well as theoretical and practice levels. In times as we are now facing, where walls are asked to be built, and therefore intensifying limits, how can design enhance a more transnational knowledge, exchange of best practices and promote a common wealth being? SSDBB emphasizes the significance that design acquires in neighboring areas, beyond the big western decision makers. SSDBB asks: is the designer's role changing into a more hybrid profile? Who are the people working in transdisciplinary scenarios or multidisciplinary teams, beyond the borders of traditional Design paradigms? What are the challenges, difficulties or joys of design practice, education, culture, technology, as well as strategic and social environments? These are the tracks where the conference’s theme, “Design Beyond Borders”, pretends to generate scientific knowledge. We would also like to enlarge the discussion on how Design operates in neighboring countries, cities or isolated territories. How design contributes to your town, to your community, city, culture? Does it help to improve the local economy and industry in an efficient, decentralized, as well as unique and genuine way? These are the challenge that we’ve asked to all participants. Their answers and proposals are part of the contents of this book. We strongly believe these help to generate a more profound and consistent vision about other ways and procedures that Design embraces. From these considerations this book certainly contributes to a more heurist knowledge about this extraordinary discipline that Design is. Emília Duarte Susana Gonzaga


FOREWORD RHIZOMES

The islands’ openness to the sea, as well as their concomitant isolation characterizes its oxymoron: the topos of excellence of the mainlander’s imaginary is the islanders’ homeland – a metaphor for isolation for some, communication platform for others. Globalization, and the resulting erosion of local cultures, has led to the emergence of alternative views opposed to this western hegemony, through the exaltation of local know-how and vanishing life-styles. In the context of globalization and increasing transnational mobility, Rhizomes aims to promote a reflection on the intersection between handicraft, design and art productions in insular spaces. By their understanding of praxis as poiesis – inherited from the Arts&Crafts movement – artists, artisans and designers are the creators and modulators of the perceptible. The Arts&Crafts movement was designed by William Morris and Ruskin as a way of unifying artists and artisans around the concept of Gesamtkunstwerk, in opposition to what they considered to be the degradation of the quality of life, namely in what concerns working conditions and environment, caused by the Industrial Revolution. At the same time, projecting and producing were becoming distinct phases, giving birth to the modern concept of the designer as the one who devises the “designium”. This concept was integrated by the Bauhaus, which, following its initial chapter, adopted industrial production as the best manufacturing system. In this way, the conference aims to address the following questions: i) In which way can art, crafts and design contribute to the preservation and modernization of insular cultures in the face of globalization? ii) What is the specificity of these islands’ artistic, artisanal and design creations? iii) On what grounds can a platform of dialogue be built between islands with an African sociocultural matrix and islands of European sociocultural context? iv) How can initiatives of artistic, artisanal and design co-creation between African and European islands – in which both partners are mutual creators and benefactors of their work – be brought to fruition into an emancipatory experience for both? v) In what way can the connection between art, craft and design contribute to the islands’ sustainable development in the context of globalization? vi) What creative constellations have emerged, on the mainland, as a result of the islands’ creative exports? vii) Finally, in what measure do islands constitute creative laboratories of subversive movements reinstating what is known as traditional expertise through art and design, and contributing to a global sustainable cultural development?

Ana Nolasco


CONTENTS Design Beyond Borders

Cakiroglu, I. Genders of Products: Creating Genderless Design.

01

Camocini, B, Collina, L. and Piazza, M. Thematic Clusters at Expo 2015 Milan. Studying Arid Zones as a Creative Lab.

08

Camocini, B., Di Prete, B. and Rebaglio, A. Temporary and Narrative Design Approaches for Fragile Urban Contexts.

14

Curralo, A. F. and Paiva, S. UX Design and Incluso App Development.

21

Duarte C. A. Mutual aid: As an evolutionary process of cooperation in design to achieve simplicity.

27

Dworak, W. S., Paz, I. L. and Filgueiras, E. V. Using UX Techniques in the Game Design Process: Practical Approach of The Initial Phases of a Project.

33

Fernandes, M. S., Mateus, A., and Leonor, S. Graphic Design a (Borderless) Dynamic Career

38

Gancho, S. Literature Review: Design Management Models and their relevance to Branding.

42

Góis, J., Oliveira, S., Rosário, A. and Mendonça, R. Working process with plastic a way to reduce the stigma of schizophrenia.

50

Gonçalves, D., Niemeyer, L. and Ventura, C. Do Designers Dream of Electric Sheep? a Utopian Essay on Design Ethics.

58

Gonzaga, S. and Vezzani, V. Social Sustainability Education. Experiences beyond the borders of traditionalism.

66

Lopez, A., Bartachini, J. and Mendoça, R. Reverse Process in Stigma Products.

75

Motta, A. C. and Loyens, D. Product Design in a Circular Economy: Competencies and Responsibility.

83

Oliveira, I., Providência, B., Martins, C., Fernandes, I., Duarte, M. and Trigueiros, P. Artefacto #0000: study of traditional ceramic jug “Infusa”, for innovation by design, in Northern Portugal.

90

Pinheiro, C., Farinha, I. and Ferreira, A. M. Impact practices: Communication & Design Case studies

98

Ponte, R. and Niemeyer, L. Design: A field in search of its own contours.

106

Rocha, H. R. Curators: what can Design learn from contemporary art?

114

Sambade, A., and Ferreira, A. M. Co-designing the Future: How Designers and Research Labs play an important role to Social Engagement and Sustainability.

121

Santanicchia, M. Becoming Citizens: Systems Thinking in the Design Education.

130


Sarmento, T. and Alvarado, I. O. Roles of Design in Social Innovation: examples from Portugal.

138

Souleles, N., Savva, S. and Ferreira, A. M. The challenge of embedding design for social change and innovation in Higher Education curricula and the role of DISCERN (DesIgn for Social Change and innovation through a EuRopean Network).

146

Sousa, A. and Rosa, G. S. Typography and vernacular brands in northeastern Brazil: for the valorization of the graphic heritage of Rio Grande do Norte.

152

Tang, T. and Vezzani, V. Fostering a culture of collaboration through playful Design Jams.

159

Trigueiros, P. Three categories of design actions to reuse materials and waste - opportunities for designers at University of Minho.

168

Trocchianesia, R., Bollini, L., Borsotti, M. and Pirola, M. Metaphorical exhibitions between art and design: a mutual relationship beyond borders

174

Rhizomes Falcão, G. The “Neurath Problem” as an Example of the Glitches Raised in Design Education by the Dominant Historical Narratives. The Mystics of the Myth, Part II.

175

García, N. R. Festivities posters of the Canary Islands

180

León, S, del P. de, Hernández, F. A. and Conesa, I. P. Casting with Ceramic Shell and the Deployment of Microwave Susceptors for the Dewaxing of Jewelry Parts and other Small Size Objects

186

Nolasco, A. Hand to Hand: Design for Sustainable Living

191

Fróis, V. Art Projects with a Groups of Women Potters of Cape Verde: Air in the Sea and Save the Waters

199

Workshops

Trigueiros, P. The Right to Design: merging boundaries #1: from “mainstream” to “exclusive design”; #2: From “exclusive” to “inclusive design”

206

Bertolotti, E., Suteu, I, Drouin, S., and Martinoni, J. Lines in motion. Insights on the creative process of the collaborative animation

Giudice, A. DECOLONIZACTION

Farinha, I., Pinheiro, C. and Ferreira, A. M. Moving life in circles: communication & design for a circular economy


Crisp, D. G. and Abdullah, N. Situational Methods in (Graphic) Design

Franzreb, D. Identifying opportunities for collaborative German-Portuguese User Experience and Design Thinking research

Ferreira, A. M., Farinha, F., Pinheiro, C., Souleles, N. and Rocha, H. Senses & Sensibility for Social Innovation and Sustainable Behavior: Sensing New Design [Higher Education] Landscapes

Keynote lectures Design Beyond Borders

Franqueira, T. Design, Social Innovation and Collaboration

208

Julier, G. Design After Neoliberalism?: Reconstituting its Borders, Rewording its Practices

209

Pausz, T. An Exploration of Transgressive Design

210

Rhizomes Baldacchino, G. Understanding Islandness: A Journey in Five Steps

211

Vicente, A. Ilhas mundo, a reinvenção da matéria ilha

221

Invited project presentation

Souto, M. H.

222

MoMoWo - Women’s Creativity Since the Modern Movement


Three categories of design actions to reuse materials and waste - opportunities for designers at University of Minho

on the subject. However, there are important resources available for future development of product design on sustainability, related to renowned research in UM, namely in CVR and other engineering labs. We believe it reinforces the opportunistic decision of creating this degree in this industrial, Portuguese region, complementing other research areas of UM.

Aknowledgments This work has the financial support of the Project Lab2PT – Landscapes, Heritage and Territory laboratory – AUR/04509 and FCT through national funds and , when applicable, of the FEDER co-financing, in the aim of the new partnership agreement PT2020 e COMPETE 2020 – POCI-01-0145-FEDER-0-7528

REFERENCES Adidas and Parley. (2017). adidas and Parley. Retrieved 12 June 2017, from http://www.adidas.com/us/parley Freitag. (2017). https://www.freitag.ch/en/shop. Retrieved 7 June 2017, from https://www.freitag.ch/en/shop Mestre, A. (n.d.). PUF STRING | Corque Design. Retrieved 12 June 2017, from http://corquedesign.com/collection/pufstring/ Peltier, F. (n.d.). Designpack Gallery - Espace pour la promotion de l’Art du Design Packaging. Retrieved 12 June 2017, from http://www.designpackgallery.fr/ Studio Nituniyo. (2015). Nituniyo builds cardboard elephant from over 6,000 recycled paper tubes. Retrieved 7 June 2017, from http://inhabitat.com/nituniyo-builds-cardboard-elephant-from-over-6000-recycled-paper-tubes/ Tejo, R. (n.d.). ecolo deco design - eco design et recyclage. Retrieved 9 June 2017, from http://www.ecolodecodesign.fr/eco-design/

Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 173

Metaphorical exhibitions between art and design: a mutual relationship beyond borders Raffaella Trocchianesia , Letizia Bollinib, Marco Borsottic and Matteo Pirolad

a

Dept. Design, Politecnico di Milano [email protected] b Department of Psychology, University of Milano Bicocca [email protected] c Dept DAStU, Politecnico di MIlano [email protected] d Dept DAStU, Politecnico di MIlano [email protected]

ABSTRACT The exhibition design has always been – among other design disciplines – one of the most innovative field of experimentation both for languages and projects improvement. The paper aims at studying the potential of art of being a metaphorical “tool” for the interior design approach both in terms of cultural exhibitions and installations. For this reason we present two groups of cases: cultural exhibitions designed by artists and artistic installations created by designers and architects. The relationship between the design approach and artistic installations can be seen in three dimensions of the design process: in exploring the theoretical meaning of the space (the art as a media to know novel vocations of spaces during the concept generation process); in experimenting the physical impact of the artifact in the space (the art as a matter of innovation during the verification of the project); in expressing innovative spatial concepts (the art as a “language” to communicate novel provocative and disruptive visions during the communication of the idea). In conclusion: we embrace the idea that art can be considered as a paradigmatic incubator in the process of “living” the Interiors. Starting from that, we are going to underline some methodological attitudes within the design culture in relation to the artistic research and to interpret new aesthetics. Keywords: Exhibition design, Interior design, art, installation, metaphor

INTRODUCTION The exhibition is one of the most fertile fields of the experimental design in its many cultural forms: theoretical, methodological and participatory and fits in law, the list of design disciplines more strongly linked to advanced forms of research. The discipline is an open workshop where groups of articulated design processes involve multi-disciplinary teams of professionals and designers and compare from issues rooted in theoretical reflections to give them practical solutions, often unpredictable at the beginning of the design process, which generate innovative cultural products, also in terms of progressive enhancement, opening up to new groups of users who propose compelling visions of a culture that moves beyond its borders. The exhibition has thus gradually become a borderline place, also becoming the contamination boundary Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 174

Raffaella Trocchianesi , Letizia Bollini, Marco Borsotti and Matteo Pirola

with other cultures, such as those of digital technologies. A place of contact and ownership, through the performance and interaction of content, experiences, meanings and values given by the user that intersect the proposed narrative levels of the project, such as new levels of interpretation and reading paths. In the traditional discipline of interior design, the setting up represents an interesting place of design research, technical research for sure but also aesthetic, to investigate the contemporary “language”. To simplify, we could say that the designer designs settings, spaces which are representative of something else, while the artist designs installations, spaces which are self-representative. However, these two attitudes, these two disciplines of two possibly different professionals, the designer and the artist, share some contact points of intersection where it is no longer possible to separate art from design, regardless of whether the author of the work is an artist or a designer. We call these special spaces, that mainly awake sensations and contents, metaphorical spaces: places where space is transformed, translated; it becomes "something different" from its content (set up) otherwise space becomes the content itself (installation). And the metaphor, as one of the figures of speech, is one of those artifices of the language, even in space communication, aimed at creating a special effect, a transfer of meaning. The metaphor is interpretation, asking and seeking for interpretation

METAPHORICAL RELATIONSHIPS BETWEEN ART AND DESIGN IN ENVISIONING NEW MODELS OF CONCEPTUAL SPACES AND EXHIBITIONS In this age of re-definition of disciplinary boundaries, some disciplines intertwine “languages” and exchange practices in order to experiment new ways to interpret contemporary issues. Herein it is investigated art as a potential metaphorical “tool” in the interior design approach. Here the metaphor -usually used as a figure of speech in the literary field- represents a way of communicating design concepts and moving conceptual models from a domain to another one. It represents a mental model for every artistic genre. It is a movement of affine meanings, it is an abbreviated and contextual knowledge (Weinrich 1976, De Angelis 2000). Therefore, with the expression “metaphorical space” we mean those artistic installations that express some values related to a specific kind of space using something figurative and symbolic in the place of another thing. The conceptual allegiance between design and art seems conducive to experimenting with new forms of collaboration that lead to the re-codification of process and content in the interior design field. According to Gombrich’s concept of “beholder’s share” (2001), art is incomplete without the perceptual and emotional involvement of the viewer and -in this case- the “inhabitant” of the conceptual space. This was a crucial subject of study by a contemporary generation of Viennese art historians. In their work, Kris and Gombrich both recognized the importance of contemporaneous schools of psychology and incorporated perceptive and emotional response into art criticism. The field of culture has a relative autonomy, but its boundaries are permeable, and it is in this permeability that it creates its compelling role within contemporary society. The challenge of the design approach is to intervene within these boundaries to rethink existing structures and develop new models of spaces. Furthermore, art and design offer important elements useful to understand both artistic installations, focused on representing contemporary forms of domestic spaces, and a multiplicity of meanings derived from them. In the design discipline these elements are interpretative tools that facilitate knowledge and the exchange of content, whereas in the art field, an “expressive key” allows for the understanding of new spatial experiences. From this follows the idea of “translation by design”: translating encompasses the action of interpretation and the expression of new metaphorical spaces. De Angelis (ibidem 2000) introduces this definition: the metaphor as a minimum unit of a story, it entails a specific time and space and it is able to intensify the dimensions of the object/content involved. She suggests an interesting distinction between narrative installation and metaphorical installation as well. This last one represents a deviation of the “language” and allows further connotations able to redirect the concept to another level of perception and to produce meanings non-existing before. Also for this reason the metaphor is an useful key to express interior spaces and architectural models, because it focuses on one specific image able to summarise the core of the idea. In particular, we can use metaphor in the interior design field both for reframing usual spatial concepts and framing, as well as making understandable, unusual ones. How can we use metaphor for this double goal? § Reframing usual spatial concepts: dramatising emotional qualities; reframing the functional experience; moving conceptual models from a domain to another one. Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 175

Metaphorical exhibitions between art and design: a mutual relationship beyond borders

Framing and making understandable unusual spatial concepts: modeling the working principle; rewriting the idea with new languages and communication registers. Interior design has always drawn inspiration from art; indeed, several architects are both artists and designers and adopt a mixed attitude in creating objects and spaces. Herein we can underline some “transactions” that go beyond mere architectonical functions and try to interpret new domestic aesthetics. We embrace the idea that art can be considered a paradigmatic incubator in the process of “living” and “performing” the Interiors; starting from that, we try to underline some methodological attitudes the design culture uses in artistic research. §

ARTISTIC INSTALLATIONS CREATED BY DESIGNERS The relationship between design approach and artistic installations can be recognized in three dimensions of the design process: § in exploring the theoretical meaning of the space; § in experimenting the physical impact of the artifact in the space; § in expressing innovative spatial concepts. In the first dimension -exploring the theoretical meaning of the space- art is considered as a medium of knowing novel vocations of spaces during the concept generation process. In this case, designers take advantage of the artistic model in order to investigate the idea and its implications in the space. We can consider this kind of installation as some sort of semifinished work which is useful to go on with the development of the concept. In the second dimension -experimenting the physical impact of the artifact in the space- art represents the innovative factor during the verification of the project in the actual space. In this case the artistic installation is a way to “perform” new gestures, behaviours, functions and to envision new impacts in the reality. In the last dimension -expressing innovative spatial concepts- art is assumed as a “language” to communicate novel, provocative and disruptive visions during the communication of the idea. This means to exploit the potentials of art in triggering the process of creating new concepts of space that stage the Impossible, the Paradoxical, the Utopic. This dimension is directed to the audience because it has a strong communicative vocation. We will try to extract some design attitudes able to answer to the previous questions by a selection of case studies chosen according to the following criteria: § recent projects (year 2016); § installations that represent “inhabitable” Interiors; § design driven approach; § installations presented in public exhibitions; For each case we will pinpoint the following entries: § short description; § method/method and guide-lines of the exhibition1; § metaphor; § paradigm of spatial experience.

International Architecture Exhibition Following are two cases (British and Switzerland Pavilions) from 15th International Architecture Exhibition (Venice 2016). It is not a coincidence that this kind of cultural event is rich of interesting examples because it is a privileged platform where to stage architectural topics through new forms of narrative that borrow “languages” and expressions from the art field. Herein the aim is showing future scenarios and experimental worklines. At first we mention the British Pavilion exhibition Home economics. Five new models for domestic life2 that participates in responding to social changes through a design approach. It raises urgent issues about the role and responsibility of the domestic space in familiar life. This project represents five new models for do1

In the case of exhibitions with multiple installations, the entry “method” is related to the exhibition itself because the role of the curator is crucial in order to understand the design approach and it is called “method and guide-lines of the exhibition”.

2

https://www.britishcouncil.it/events/home-economics-padiglione-gran-bretagna Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 176


mestic life according to five periods of time: hours, days, months, years and decades. The installation is full scale 1:1 and displays architectural proposals as a direct spatial experience. The topic of this work is the crisis of both housing and the ways of living in Britain. The conditions of life are profoundly changing because of social relationships, family structures, gender roles, migration flows and ageing population; therefore, this installation seeks to interpret this situation using the lens of timescales. This topic opens to some interesting issues: ownership vs sharing, private vs public, individual vs collective, permanent vs temporary, time vs space. Method: this research finds an applied experimentation in this installation. It is carried out by an interdisciplinary team made of architects, photographers, artists, writers, fashion designers and financial developers. All these competences collaborated in order to envision alternatives to the conventional domestic architecture. Metaphor: “Lens of timescale”. Each part of the installation formulates the main metaphor in secondary ones. Hours: Own nothing, share everything; Days: Home is where the Wi-Fi is; Months: A house without housework; Years: Space for living: not speculation; Decades: A room without functions. Paradigm of spatial experience: “Room by room”. The visitor follows intersections of a space that represents the “zooming out” and the “zooming in” of contemporary housing. The Switzerland Pavilion, hosts Incidental Space3 by Kerez, an architect and curator who has created an extremely impressive research area. Method: holistic design with some points of contact between manual execution and digital production. He tries to answer the question “how can you use the medium of architecture to contemplate an architectural space that is totally abstract and as complex as possible?” Metaphor: “Cave/Cloud”. Kerez produces a metaphorical space with perfectly matching double meaning: the ancestral idea of the cave (interior) and the futuristic idea of a cloud (exterior). Paradigm of spatial experience: “Exploration”. Both spaces can be experimented by visitors, who are invited to take possession of this revealed place.

Architecture as Art In the exhibition Architecture as Art4 (curated by Bassoli and directed by Nicolin, at the Pirelli Bicocca Hangar, see below Entrance and Bricolage projects) 14 professional studios have been asked to create a fragment of architecture freely interpreting new design paradigms related to primary gestures such as entering, covering, living. “We are talking about architecture, but we are displaying it as if it was art,” said Nicolin during the presentation of the exhibition which aims at providing “true” experiences to overcome the problem of displaying architecture through mediums that can not realistically represent space, such as drawings, photographs, models and video. Method and guide-lines of the exhibition: dual interpretation of architecture as art, with the formal and metaphorical experimentation of the technique and of the building material. Grasso Cannizzo creates Entrance, a cubic volume consisting of many vertical and suspended metal rods. At rest, this idea of architecture is a sculpture. Metaphor: "The sound threshold”. The theme of entering is interpreted here by a poetic atmosphere, the musical metaphor of the sound signal that announces the entering of a guest in any house. Paradigm of spatial experience: “Immersion”. The visitor is invited to interact with the work, to enter the cubic volume from anywhere, making his way with his own body, and then walk out from another place. The experience proves to be very strong from a physical point of view (because of the physical displacement by contact of the rods that are very close one to another) and from an acoustic point of view (because of the musical sound of the rods that resonate like oriental bells), and it does not involve only the individual visitor but the entire exhibition space and other visitors, because of the loud sound generated and of the interaction required by this work. Amateur Architecture with its Bricolage, a title playing with the meanings of the words of the technique and of the material used (brick and assembly), interprets the theme of the wall, a rising barrier that separates but also joins. By building a three-dimensional wall made just of bricks, cutting transversally the exhibition space but which can be walked through, deconstructed in some parts and almost embroidered in its texture,

3

https://prohelvetia.ch/it/dossier/biennali-venezia/ https://biennials.ch/home/BiennialDetail.aspx?BiennialId=74 4

http://www.triennale.org/mostra/architecture-as-art/ http://www.hangarbicocca.org/mostra/architecture-as-art/ Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 177


the author investigates the potential of the most traditional building material, that is nowadays often abandoned. Metaphor: “The ruin”. The idea of using once again this element and these materials, certainly connected to the author’s living experience in China, offers, together with the metaphor of the ruin, a point of restart for a new regenerating architectural approach. Paradigm of spatial experience: “Crossing”. The visitor, by crossing a threshold, is given the possibility to walk for a few meters inside of a living wall.

Rooms. Other philosophies of living 5

The exhibition Rooms. Other philosophies of living (of which we mention Intro, Resonance and D1), curated by Finessi with Cataluccio at the Palazzo dell'Arte of the Triennale in Milan is the occasion, after years of oblivion and rediscovering an ancient top-notch Italian tradition, to look once again at interior design as a place and discipline of integration between architecture, design and art. Method and guide-lines of the exhibition: 11 subjects are identified (analysed through a system of literary, sociological, filmic and artistic references with an interdisciplinary approach) acting as key elements to trigger thoughts and inspirations on suggested spatial metaphors. Novembre with Intro, displays a large sphere with an outside reflecting surface, whereas from the inside comes a speech taken from the movie “8 ½” by Fellini and from the book “design explained to my mother” by Novembre himself, which attracts us in a space covered with red leather. Here the designer makes the best out of all his aesthetic and sensual efforts, to design a room that opens unprecedented reflections between architecture and art, interior and bodies, to become more self-conscious. Metaphor: “Maternal womb/self-consciousness”. A room full of metaphors: from the mother's womb to self-consciousness, to the perfect shape in between a sphere and an ovoid. Paradigm of spatial experience: “Space Introspection”. The designer pushes the visitor to lay on a soft surface where he will realise to be inside a body, namely a head, an hypothetical mirror of himself. Anastasio, Resonances: a room that explores the relation potential of human beings, the "opportunity to affirm or deny the dimension of listening to ones own and to the other." The space is at first visible from the outside, through a window cut in two by a lace curtain, that moves away from the wall and enters space by articulating it and affecting the furnishing elements, which are literally divided into two equal parts, cut by this full height tent/diaphragm. Metaphor: “The Double”. Anastasio works on the metaphor of doubling, of living together as a couple, of living together as twins. Paradigm of spatial experience: “Shared private”. Interior personal space is shared with another life, another being, one’s double or one’s complementary. Librizzi, D1: an abstract room, made of three slender fences, diaphanous netted diaphragms, which are polychrome, which may be crossed and which surround a central empty space. Here space is concentrated and circulates on itself, revealing traces of relations among elements. The first enclosure represents the landscape/architecture relationship, the second identifies the interior space and the third determines the relational space between people and objects. Metaphor: “The first human room”. The idea is that of “the first man's room”, metaphor of the interior in the interior as a sacred space where the table is an inviolable altar around which all residents relate one another and live the house. Paradigm of spatial experience: “centralisation and circulation.” The visitor explores space through filters and diaphragms that tend to spatial concentricity and radial movement Method and guide-lines of the exhibition: dual interpretation of architecture as art, with the formal and metaphorical experimentation of the technique and of the building material Grasso Cannizzo creates Entrance, a cubic volume consisting of many vertical and suspended metal rods. At rest, this idea of architecture is a sculpture Metaphor: "The sound threshold”. The theme of entering is interpreted here by a poetic atmosphere, the musical metaphor of the sound signal that announces the entering of a guest in any house. Paradigm of spatial experience: "Immersion". The visitor is invited to interact with the work, to enter the cubic volume from anywhere, making his way with his own body, and then walk out from another place. The 5

http://www.triennale.org/mostra/stanze-altre-filosofie-dellabitare/ http://www.salonemilano.it/manifestazioni/eventi-appuntamenti/lista-eventi-del-salone/2016/stanze-nuovi-paesaggidomestici.html Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 178


experience proves to be very strong from a physical point of view (because of the physical displacement by contact of the rods that are very close one to another) and from an acoustic point of view (because of the musical sound of the rods that resonate like oriental bells), and it does not involve only the individual visitor but the entire exhibition space and other visitors, because of the loud sound generated and of the interaction required by this work. Amateur Architecture with its Bricolage, a title playing with the meanings of the words of the technique and of the material used (brick and assembly), interprets the theme of the wall, a rising barrier that separates but also joins. By building a three-dimensional wall made just of bricks, cutting transversally the exhibition space but which can be walked through, deconstructed in some parts and almost embroidered in its texture, the author investigates the potential of the most traditional building material, that is nowadays often abandoned. Metaphor: "The ruin”. The idea of using once again this element and these materials, certainly connected to the author’s living experience in China, offers, together with the metaphor of the ruin, a point of restart for a new regenerating architectural approach. Paradigm of spatial experience: "Crossing". The visitor, by crossing a threshold, is given the possibility to walk for a few meters inside of a living wall.

Rooms. Other philosophies of living 6

The exhibition Rooms. Other philosophies of living (of which we mention Intro, Resonance and D1), curated by Finessi with Cataluccio at the Palazzo dell'Arte of the Triennale in Milan is the occasion, after years of oblivion and rediscovering an ancient top-notch Italian tradition, to look once again at interior design as a place and discipline of integration between architecture, design and art. Method and guide-lines of the exhibition: 11 subjects are identified (analysed through a system of literary, sociological, filmic and artistic references with an interdisciplinary approach) acting as key elements to trigger thoughts and inspirations on suggested spatial metaphors. Novembre with Intro, displays a large sphere with an outside reflecting surface, whereas from the inside comes a speech taken from the movie “8 ½” by Fellini and from the book "design explained to my mother" by Novembre himself, which attracts us in a space covered with red leather. Here the designer makes the best out of all his aesthetic and sensual efforts, to design a room that opens unprecedented reflections between architecture and art, interior and bodies, to become more self-conscious. Metaphor: "Maternal womb/self-consciousness". A room full of metaphors: from the mother's womb to self-consciousness, to the perfect shape in between a sphere and an ovoid. Paradigm of spatial experience: "Space Introspection". The designer pushes the visitor to lay on a soft surface where he will realise to be inside a body, namely a head, an hypothetical mirror of himself. Anastasio, Resonances: a room that explores the relation potential of human beings, the "opportunity to affirm or deny the dimension of listening to ones own and to the other." The space is at first visible from the outside, through a window cut in two by a lace curtain, that moves away from the wall and enters space by articulating it and affecting the furnishing elements, which are literally divided into two equal parts, cut by this full height tent/diaphragm. Metaphor: "The Double". Anastasio works on the metaphor of doubling, of living together as a couple, of living together as twins. Paradigm of spatial experience: "Shared private". Interior personal space is shared with another life, another being, one’s double or one’s complementary. Librizzi, D1: an abstract room, made of three slender fences, diaphanous netted diaphragms, which are polychrome, which may be crossed and which surround a central empty space. Here space is concentrated and circulates on itself, revealing traces of relations among elements. The first enclosure represents the landscape/architecture relationship, the second identifies the interior space and the third determines the relational space between people and objects. Metaphor: "The first human room". The idea is that of "the first man's room", metaphor of the interior in the interior as a sacred space where the table is an inviolable altar around which all residents relate one another and live the house.

6

http://www.triennale.org/mostra/stanze-altre-filosofie-dellabitare/ http://www.salonemilano.it/manifestazioni/eventi-appuntamenti/lista-eventi-del-salone/2016/stanze-nuovi-paesaggidomestici.html Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 179


Paradigm of spatial experience: "centralisation and circulation." The visitor explores space through filters and diaphragms that tend to spatial concentricity and radial movement.

Domestic Dimension 7

Last but not least, we point out the exhibition Domestic Dimension , curated by Finessi at Fondazione Achille Castiglioni, where the historic space of "The Living Environment" designed by Achille and Pier Giacomo Castiglioni for the exhibition "Colours and shapes in today’s home", presented at Villa Olmo, Como, in 1957, has been staged again. Method: the visual perception as a key of reinterpreting the space. Metaphor: "The optical chamber". Here the Castiglioni brothers have deformed space into a trapezoidal shape, a metaphor of the optical chamber obtained by obstructing the visual projection, which emphasises the quantity and quality of existing furnishings and accessories, including famous designers’ objects, historical, prototypes or anonymous, in an interior space that represented the new increasingly complex society. Paradigm of spatial experience: "The view from the outside". The environment can be observed only from the outside through a large opening or through a small door that visitors are invited to open. From these two points of view you look directly at the future of housing, the future at that time which is now, that from that moment on ceased to be in "style", setting a new contemporary language.

EXHIBITIONS DESIGNED BY ARTISTS From the interweaving of history and everyday life come for the exhibition design and the museum institution concrete opportunities of social innovation, which radically altered the usual practices, destabilizing the typical relationship among the museum as institution, scientific and cultural referent as curator, designer as interpretative performer and audience as the final user. Due to the insights born mainly in the intersections between literature and art, the story-telling, triggered by the attribution of value in relation to choses demand to curators and designers a conscious opening towards the audience co-participation. The following cases represent exhibitions lead by an artistic approach where the specific, personal mark of the artist involved reveals his/her sensitivity and style.

Les Archives du Cœur by Christian Boltanski, Teshima Boltanski has devoted his artistic research to identify the detection of human memory signs forms, represented into shifted depictions, characterized by the presence of telltale signs, taken from daily life to which these objects belong (clothes, telephone books, photographs etc.). The humanity that he’s interested in is made of a normality dense stories. “My installations are monuments to those to whom no one ever dedicated a monument to the common people. I try to keep the small daily memory of these people, made up of photographs, objects, such as cookies boxes. Everyone has the right to be remembered.” (Gambero, 2009). At Teshima, Japanese island of the Inland Sea, within the Benesse Art Site Naoshima, a territorial museumsystem it’s possible to visit, such as a sort of voluntary pilgrimage looking for a personal and collective memory, a small building nearby the sea, Les archives du cœur, which houses thousands of recordings of ordinary people heartbeats, world-wide recorded since 2008 and carefully classified. Hence the idea of art installation evolves into the configuration of an innovative audio-sensory museum where the heart rhythm, a vital necessity, becomes a representation of the essence of our being human, through those tracks recorded that here become testimonials forever perpetuated. “The beat of the heart is the ultimate symbol of human ‘life’. I had a desire to make an album, but instead of photographs, fill it with heartbeats. While indicating that everyone is part of the same family, this also expresses the intrinsic fact that no two people are the same. [...] What’s important is the spirit of transmission. People only come back to life in other people’s memories.” (Boltansky, 2013).

Confessions by Candy Chang, Las Vegas One of the most interesting experiments that explores the individual and social dimensions of so-called collective wisdom, is the exhibition Confessions held at the P3 Studio Gallery in Las Vegas in 2012, designed by 7

http://fondazioneachillecastiglioni.it/dimensione-domestica/ Proceedings of the 9th International Conference Senses and Sensibility 2017, Funchal, Madeira 24-27 October 2017 180


the urban activist and artist Candy Chang. A performative, participatory and intimate performance at the same time, in which the public, artist and script are intertwined, building the message of the exposition. The people writing their own secret thoughts –the confessions collected are more than 1,500– construct the narrative unsaid plot that becomes explicit and public in the exhibition. The artist then interprets the confessions transcribing them, giving them, a form that increases visibility and a flow of thoughts annotated by visitors/authors on small rectangles of wood, which constitute the narrative exhibition structure. Confessions selected by the artist undergoing manipulation of the typical ostensible exhibition design and create a sort of amplification, real and conceptual part of the intimate, deep, thoughtful, unspoken of life of the people participating in the project. They become so simultaneously authors and objects, representatives and representatives of the artistic voice that gives them personal and anonymous. Confessions builds a dynamic balance that borrows the most innovative aspects of social media and web 2.0 community and re-mediated it in a designed gesture where the artist is medium and interpreter, not the author, of the co-creation made by users.

The Museum of Innocence by Orhan Pamuk, Istanbul The literary passion for objects as emotional and historical evocator –that in Perec remained on paper– becomes for Pamuk a concrete experience: the Museum of Innocence, where writing and exhibition project are indissolubly interconnected. Pamuk takes over the years, in a long time and according to a clear abstract idea, but unaware of the outcome, with an original path that weaves to contract a museum made out by common objects of his city, Istanbul, the simultaneous writing of the museum catalog, written as novel. A sort of logical and timing bump, where containers and contents are meant thanks to the double ordering structure of writing and exposure. The Museum of Innocence is a real museum, universally known by its literary homologous (Pamuk, 2008): a place that tells a story, made understandable by the exposed objects that illustrate the real life making understandable the history of a city and its inhabitants. “There is of course a strong relationship that holds together the novel and the museum: both are the result of my imagination, dreamed up word after word, object after object, photograph after photograph, for a long period of time. [...] The objects exhibited in the museum correspond to those described in the novel. However, there is a gulf between words and things, between the images that words can evoke in our minds and memories that an old object we were using a long time ago can bring us back to memory [...] The museum is not an illustration of the novel and the graphic novel is not an explanation of the museum.” (Pamuk, 2012, p. 18).

The Museum of Broken Relationships by Olinka Vištica e Dražen Grubišić, Zagabria The end of love is a traumatic moment in people life, but it’s also a universal experience. From the awareness of this personal and collective situation, comes the project of the artists Vištica and Grubišić, who decid to collect items survived to split-ups in a museum that “offers a chance to overcome an emotional collapse 8 through creation: by contributing to the Museum’s collection.” The museum therefore shows trivial objects which donations implements the collection, even through the many traveling exhibitions held abroad. These objects find sense, despite their apparent randomness, in their common emotional origin, creating a universal feelings portrait, unexpectedly logical and understandable. The audience acts here as a collector and assumes the role of virtual museum curator, contributing in an exclusive manner to the creation of its contents, in an act of collective participation that triggers the principle of belonging. This destabilizing approach, where participation is the project reason, was awarded in 2011 with the EMF Kenneth Hudson Award, on the grounds that “the Museum of Broken Relationships encourages discussion and reflection not only on the fragility of human relationships but also on the political, social and cultural circumstances surrounding the stories being told. The museum respects the audience capacity for understanding wider historical, social issues inherent to different cultures and identities and provides a 9 catharsis for donors on a more personal level.”

8

Museum of Broken relationship: brokenship.com/en/about Museum of Broken relationship, news: com/en/news/we_won_emf_kenneth_hudson_award_2011 9



CONCLUSION Further more museums and exhibitions are changing their social and cultural role, renewing themselves through the research and new design perspectives, overlapping their traditional institutional tasks to new dynamics of conversation with a territory that question and investigate stimulating interaction. In taking this road, it is growing up a conceptual and methodological renewal of the idea of exhibition project always more an expression of the hybridisation between art and design. An innovation for the exhibition design that requires an ever more active role, where are reinvented its profiles of utility and use of material goods and organizational infrastructure, to strengthen the fundamental role of the cultural offer in contemporary society. The "use" of the art in envisioning new concepts of Interiors is a historical issue but is nowadays becoming more and more significant because it explores new contemporary registers and copes with new spatial frictions. We can pinpoint five main actions that lead the designers in conceptualising and giving shape to these installations and exhibitions: § exaggerating meanings; § provoking strong reactions; § stressing design attitudes; § triggering new uses of the space; § suggesting new behaviours. This kind of analysis and the metadesign approach envisage an interdisciplinary hybridisation between art and design, visual perception and architecture. We can pinpoint virtuous relationships that lead to new possible critical readings where artistic installations and exhibitions are not only expressions of art and museography but also crucial matter of design.

REFERENCES Boltansky, C. (2013). Les Archives du Cœur. Booklet. Naoshima, Japan: Fukutake Foundation. De Angelis, V. (2000). Arte e linguaggio nell’era elettronica. [Art and Language in the Age of Electronics]. Milan, Italy: Bruno Mondadori. Gambero, F. (2009, December 17). Colloquio con Christian Boltanski, Espresso. Retrieved Janury 4, 2014 from espresso.repubblica.it/visioni/cultura/2009/12/17/news/emozione-boltanski-1.17429. Gombrich, E. H. (2001). A cavallo di un manico di scopa. [Meditations on a Hobby Horse and Other Essays on the Theory of Art]. Milan, Italy: Electa-Leonardo Arte. Pamuk, O. (2008). Masumiyet müzesi. Istanbul, Turkey: Iletişim. Pamuk, O. (2012). L’innocenza degli oggetti. Il museo dell’innocenza, Istanbul. Torino, Italy: Einaudi. Weinrich, H. (2014). Metafora e menzogna. Sulla serenità dell’arte. [Metaphor and lie. About serenity of the art]. Bologna, Italy: Il Mulino.
