MESOC Serapeum | Where culture meets AI

Id		746
Author		Onesti A.
Title		Built environment, creativity, social art: The recovery of public space as engine of human development
Reference		Onesti A.; Built environment, creativity, social art: The recovery of public space as engine of human development ;Region vol:4.0 issue: 3.0 page:87.0
Link to article		https://www.scopus.com/inward/record.uri?eid=2-s2.0-85044626244&doi=10.18335%2fregion.v4i3.161&partnerID=40&md5=a368fc29673fdba3e9b68afc577f274a
Abstract		The paper is a part of a comprehensive research aimed at operationalizing HUL approach and experimenting it in the buffer zone of Pompei, mainly in Torre Annunziata (Italy), and is based on the recognition of art and cultural heritage as tools for “managing the change” of landscape. The proposed thesis is that the recovery of public space, configured by art and culture and shared with local community according to an inclusive approach, contribute to regenerate creativity, reconstructing the relationships between people, communities and landscape. This lays the foundations for a “creative environment” and regenerative, concived as a prerequisite of development. In this process, art is a driver which acts on the creativity of local residents, stimulating their critical thinking, open-mindedness and design capacity, and leading them to accept diversity as an opportunity. Focusing on theories and on the empirical analysis of a best practice, MAAM Museum in Rome, this paper has three main objectives: to produce empirical evidence on the relationship between art, heritage and community relationships; to make transferable and replicable in other contexts, such as Torre Annunziata, the process experienced at MAAM; to develop a methodology able to soliciting, integrating and supporting the regeneration of relationships in the town of Torre Annunziata. © 2017, European Regional Science Association. All rights reserved.

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Candidate transition variables
This awareness calls for a reflection on cultural and social dynamics capable of contributing to the process of empowerment of local communities. .
As a final outcome, the art determines choral harmony, which generates a field of attractive forces in the landscape. .
As it improves personal development, in turn heritage induces the improvement of interpersonal relationships. .
Art, identified as super-core creativity, has a special function in the relationship between community and built environment, because it contributes to the construction of a new critical knowledge, able to recreate communities. .
In literature, social impacts of heritage on community relate to three areas of impact: greater interaction between people, that hence the strengthening of social capital; a deeper sense of collective identity, linked to sense of place; enhanced levels of awareness and understanding between particular groups, with a positive effect on community cohesion (HLF 2015). .
From the regeneration of relations between community and built environment it is possible to activate new virtuous development processes, linked to symbiosis between people/place and synergies between people. .
While they feed material culture, enhancing planning and designing capacity of local community and putting in relation old place and new technologies, they contribute to regenerating social capital, nurturing both bonding and social capital and building bracing capital. .
As it contributes to rediscovering the sense of belonging and in turn to re-activating the bond between people and place, this kind of tourism is able to produce circular relationships with local community. .
This scenario does not contrast with tourism, but rather it contributes to develop integrated economic activity and to improve the relationships of tourists and local people. .
The proposed thesis is that the recovery of public space, configured by art and culture and shared with local community according to an inclusive approach, contribute to regenerate creativity, reconstructing the relationships between people, communities and landscape. .
In this process, art is a driver which acts on the creativity of local residents, stimulating their critical thinking, open-mindedness and design capacity, and leading them to accept diversity as an opportunity. .
From street art to site-specific installations, from poetry to theater up to live works, artistic experience, shared with local communities, become instrument to regenerate both the system of relations between people, which supports the definition of community, and the process of interaction between people and built environment. .
The proposed thesis is that the recovery of public space, configured by art and culture and shared with local community according to an inclusive approach, contributes to regenerate creativity, reconstructing the relationships between people, communities and landscape. .
In this process, art is a driver which acts on the creativity of local residents, stimulating their critical thinking, open-mindedness and design capacity, and leading them to accept diversity as an opportunity. .
An additional function is performed by the recovery of built heritage, creativity-core activities, which spreads and connects with the built heritage soliciting creative effects from art (see Figure 1). .
The art manufacturing process, as well as the recovery of built environment, are both creative activities which, shared with local communities, stimulate individual and collective creativity. .
Understanding the process by which the individual relationship between person and art contributes to activating a system of relations with the built environment and between people can lead to outline a strategy for urban regeneration processes. .
So, art contributes to local development, as it acts on people, influencing their behaviours and openness and stimulating their learning capacity and attitude to innovation (Sacco et al. 2015). .
Integrating people needs and spacial quality, art contributes to rethink the world and contributes to regenerate social institution and urban community, starting from the recovery of public space, with places for socializing. .
Artistic experience is generally a personal emotional experience, which results in a direct relationship between the artistic input and who receives it; from personal emotional experience art enhances wellbeing, also linked at making sense and satisfacting identity needs. .
This scenario can include the production of artworks and crafts. .
Artworks are also integrated in the street space, configuring the external walls of buildings, especially those with no architectural value, in order to give new meanings to public space and to reconcile differences between new and historical buildings. .
Where settled communities are able to recognize, protect and produce beauty issues rather than individual interests, territory has a greater ability to magnetize economic investment, stimulating the new economic activities. .
Art is here instrumental in adding economic values and could produce social spillovers linked to the involvement of local artisans. .
Art is supported by traditional economy and is a potential source of gentrification. .
It is instrumental in adding economic values and nurturing local attraction capacity, but it can produce social spillovers, linked to the interaction between residents and tourists, nurturing the sense of identity. .
This kind of art, called social art, is supported by new types of economy as collaborative and sharing economy and is an aid for facing new urban challenges, which are evident in Torre Annunziata. .
In the third scenario, art is instrumental in adding economic/cultural values and in engaging people, sharing knowledge, connecting people, designing urban recovery, finding the strength for change. .
But if tourism is programmed and oriented, it can contribute to local sustainable development as it produce a myriad of interactions between insiders, which daily live the place, and outsiders, which see landscape with different eyes. .
These indicators highlight the quality of built environment as a potentiality to improve. .
On the one hand, it means preserving historical beauty, while maintaining efficiency in dynamic processes that shaped the built environment over time as a complex ecosystem. .
Earlier studies (CHCFE 2015, HLF 2015) highlight the ability of heritage (and landscape) to enhance both personal and social development. .
It is also replicable the idea that art can be the driver for building a creative milieu, which is the requirement for local development. .
The impacts of heritage on community can be expressed as changes in conditions or internal relations, encouraging dialogue between persons not belonging to the same social circle, stimulating acceptance diversity, openness, helping the understanding of different ideas. .
Communities act on built environment through a sedimented intangible cultural capital, making use of and enhancing local resources. .
For this feature, it can not be replicated elsewhere as it is, but is very useful in order to understanding the relationships that the recovery of public space configured by social art can activate between people, place and community and the processes of involvement of local communities. .
With the function from personal emotions to community belonging, art contributes to producing new value creation circuits, linked to sharing capacity and cooperative, which in turn introduces new forms of wealth creation. .
The integration between art and built environment, which in the past has always characterized public places, becomes the driver of implementing new forms of communication between culture and communities and regenerating both the material culture, and social capital. .
It produces social crossovers as it causes the regeneration of relations and inter-relations between people and built environment. .
In turn, built environment causes relational impacts on communities, regenerating both social ties and their relationships with environment. .

ARTICLE - CANDIDATE TRANSITION VARIABLES

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