Creativity and Social Capital: The Pillars of Venice’s Success in the New European Bauhaus Programme
Abstract
:1. Introduction—Creative Craft Enterprises as an Emerging Actor in the European Social Innovation Strategy
«Their focus can range from natural building materials and energy efficiency, to demographics, future-oriented mobility or resource-efficient digital innovation; always combined with culture and art. As creative, experimental labs and docking points for European industries, they will be the starting point for a European and worldwide network that maximises economic, ecological and social impact beyond the individual Bauhaus».
2. Research Setting—Venice Italian Candidate of the New European Bauhaus
The purpose of the project is to promote an ethical and aesthetic development linked to the different ways in which we interact with the sea. […] the seas are conceived as an innovative observatory and source of energy and creativity, as well as the glue of our hemisphere, the place that gives continuity to different yet complementary ecosystems. Land and Sea, the landscape as an integrated ecosystem (2022).
- Projects which have explicitly pursued joint objectives of social innovation and urban transformation;
- Initiatives with wide media coverage;
- Projects that have been recognised or financed by public institutions;
- Projects able to intercept also economic or material resources from private subjects.
3. Research Design
4. Case Studies—Between Craftsmanship and Social Innovation
5. Results and Discussion—How the Urban Issue of Craftsmanship Rises to the Top of the Policy Agenda: Analysis and Discussion of Cases
6. Conclusions
Author Contributions
Funding
Institutional Review Board Statement
Informed Consent Statement
Data Availability Statement
Conflicts of Interest
References
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Interviewed Code | Membership Organisation | Role in the Organisation |
---|---|---|
1 | Glass artisan | Business owner |
2 | Mask artisan | Business owner |
3 | Wood artisan | Business owner |
4 | Pearl artisan | Business owner |
5 | Glass artisan | Business owner |
22 | Construction artisan | Business owner |
27 | Mask artisan | Business owner |
33 | Metal artisan | Business owner |
35 | Digital artisan | Business owner |
11 | Glass artisan | Business owner |
39 | Wood artisan | Business owner |
40 | Mask artisan | Business owner |
41 | Glass artisan | Business owner |
21 | Ca’ Foscari University | Full professor |
10 | Ca’ Foscari University | Associate professor |
12 | Iuav University | University researcher |
18 | Ca’ Foscari University | University researcher |
19 | Ca’ Foscari University | Associate professor |
28 | Academy of Fine Arts of Venice | Full professor |
13 | Iuav University | University researcher |
25 | Ca’ Foscari University | Full professor |
26 | Ca’ Foscari University | Associate professor |
30 | Professional/Own organisation | Artist |
29 | Professional/Own organisation | Cultural worker |
14 | Professional/Own organisation | Cultural worker |
15 | Professional/Own organisation | Artist |
32 | Professional/Own organisation | Artist |
23 | Professional/Own organisation | Artist |
36 | Professional/Own organisation | Artist |
37 | Professional/Own organisation | Cultural worker |
42 | Professional/Own organisation | Cultural worker |
44 | Professional/Own organisation | Artist |
7 | Trade Association staff—CAN | Director of Venice office |
38 | Trade Association staff—CAN | Director of Veneto area |
8 | Trade Association staff—Ecipa | Director |
9 | Trade Association staff—CAN | Official of Venice area |
45 | Trade Association staff—CAN | Official of Venice area |
16 | City of Venice | City Councillor |
17 | City of Venice | City Councillor |
20 | City of Venice | City official |
24 | City of Venice | City official |
31 | City of Venice | City official |
34 | City of Venice | City official |
43 | City of Venice | City official |
6 | City of Venice | City official |
Case Study | Description | Output | Involved Actors | Goals | Employed Strategy | Budget and Access Modes | Innovation Elements |
---|---|---|---|---|---|---|---|
Fondamenta della Misericordia area (2015) | Regeneration of the Fondamenta della Misericordia area through crafts and public art. | Two public art events with over 5000 participants each. Increased area appeal. | Cultural associations, artists, productive activities, Municipality, University. | Valuation and increase of the attractiveness of the place. Development of two territorial marketing events. | Involvement of cultural institutions and local artists to promote the social legitimacy of the event. | 7000€ per project, of which 2000€ of self-financing and 5000€ from the University. | Contaminating public art and craft/commercial enterprise. |
AltroLato (OtherSide) (2018) | Regeneration of the area opposite the Calatrava bridge through crafts and public art. | Area signage panels installation. Art and business contamination. Event with over 2000 participants. | Productive activities University, artists, trade associations, Municipality, Chamber of Commerce. | Revitalising the impoverished area targeted by the intervention. Creation of a network of local actors. | Preventative involvement of the Municipality. Activation of cultural institutions, students and artists to focus city attention on the project. | 20,000€ from Public announcement of the Chamber of Commerce. | Tactical art incursions as a regenerative tool. |
Venice Original (2019) | Regeneration by developing and promoting three thematic routes (gondola, glass, masks) and one related to the specific place identified. | Development of ritual chains of interactions. Network of local artisans. Public (and free downloadable) itineraries to enhance local craft heritage. Realisation of events. | Craft enterprises, trade association, Municipality, Third sector, industry, Chamber of Commerce. | Creation of four paths of valorisation of the traditional and artistic productive activities. | Activate artisans among project coordinators to obtain effective participation of craftspeople. Prior involvement of the municipality.Social legitimacy through events. | Self-financing for 10,000€. 30,000€ from public call of the Chamber of Commerce. | Digitisation of the territorial offer. Reorganisation of Venice tour proposal. |
San Basilio area (2019) | Temporary co-management of a space dedicated to traditional, service, and artistic craftsmanship. | Development of ritual chains of interactions Co-management of a space. Cooperation and knowledge between different categories of artisans. Workshops. Micro events to strengthen social capital. Final event for 100 participants. | University, local businesses, municipality, artisans, trade association, professionals, Chamber of Commerce. | Creation of a network of local actors to enhance craftsmanship. Co-management of a dedicated public space. | Active involvement of local artisans. Co-design with the University. Social legitimacy through events and political involvement. | 20,000€ from public announcement of the Chamber of Commerce. | Interaction and cooperation between different sectors and supply chains. |
Venice Travel (2020) | Realisation of six integrated paths between craftsmanship, commerce and eno-gastronomy. | Six thematic pathways. Strengthening of the identity of the place. Materials for the tourist promotion of the place. | Productive activities, trade association, Municipality, Third sector, Chamber of Commerce. | Enhancement of productive activities of excellence. Promotion of the identity of the place. | Realisation of a project of an exclusive nature (aimed only at local excellence), to generate demand for participation. | 30,000€ from public announcement of the Chamber of Commerce. | Digitalisation of the territorial offer. |
Bottega Attiva (Active Shop) (2021) | Development of actions to support local entrepreneurship and a proactive and positive narrative of the Piave neighbourhood. | Development of ritual chains of interactions. Creation of a network of local workshops. Event with over 1000 participants. Micro events to strengthen social capital. | Citizenship, productive activities, trade associations, Municipality, University, Chamber of Commerce. | Creation of a local actors network. Realisation of visual marketing and place branding activities. | Activation of local workers to foster social legitimacy. Participatory process with local residents, Third sector, and practitioners. Social legitimation through events and political involvement. | 20,000€ from Public announcement of the Chamber of Commerce. | Social Capital. Definition of a new brand for the area. |
Quotation | Project | Topic | Frequency |
---|---|---|---|
In these years of privileged observation of all city events, I have rarely seen projects that use art in such an innovative way put forward by cultural associations (n.6). | Fondamenta | Use of art as a means for urban social innovation. | 75% |
AltroLato’s objectives refer to an innovative way of seeing and understanding the city, in which creative energies from below detect a criticality and create the political and institutional conditions to find a solution through art and creativity (n.10). | Other side | ||
Despite the lack of significant dedicated public funding, the project has been able to organise itself, involving a broad partnership and gathering resources both among the exhibitors and through the networks of volunteers and artists who have joined the project cause (n.21). | Fondamenta | Broad partnership. | 85% |
I think no craftsman would like to be excluded from these paths. I’m honoured to be a part of this project, says an artisan working in the bookbinding industry (n.39). | Venice Travel | ||
Let them propose these initiatives at home, they only bring movida and young people who are certainly not the quality clientele we need (n.17). | Fondamenta | Events as a tool for urban social innovation. | 60% |
Activities that give us visibility are welcome, but 10 years after the inauguration of the Calatrava bridge, economic activities have been halved! (n.13). | Other side | Inconsistency between objectives and strategy. | 65% |
A strong discontent was creating between the excluded ones since 100 enterprises are not enough to represent the venetian excellences (n.38). | Venice Travel | ||
I am participating because I would be the only one not to participate from my street, but I think you are only wasting my time because this little initiative will not make people want to come to Via Piave (n.41). | Bottega Attiva | ||
To actively involve more than 40 artisans and work on the city’s tourist offer was possible only through the activation of a temporary manager who was sufficiently well known and appreciated among the artisans, as well as the prior involvement of the City Council so that what was done could find space in official city channels (n.9). | Venice Original: The art kilometre | Use of a temporary project manager chosen from among the beneficiaries of the intervention. | 60% |
The first refers to the reorganisation of the Venice tour offer based on the artisan sector; the second concerns the digitisation of this offer, which up to that moment had a scarce presence on the web, since most of the artisan companies involved did not have a website or a social network profile (n.28). | Venice Original: The art kilometre | Digitisation and innovative process. | 80% |
Among the strategies taken to reach the goals was the prior involvement of multiple city institutions relative to the project, and the use of multi-channel advertising campaigns, which in some ways forced the parties to take a stand (n.8). | Other side | ||
I’ve lived here for 40 years and I’m very familiar with the local crafts, yet I didn’t know more than half of the craftsmen you’ve involved and put in the maps/paths. I think it’s a useful tool that can raise awareness of the excellence of Venetian craftsmanship, beyond the usual knowns (n.29). | Venice Original: The art kilometre | Social capital development and trust relationships. | 90% |
I’ve never had the opportunity to meet with master glassmakers and shipbuilders before, and never mind with construction workers and terrazzo workers. And yet, thanks to these meetings, I’ve had confirmation that we’re all in the same boat! (n.33). | San Basilio | ||
This project has become the Tuesday event of October. I have to admit that I enjoy coming to these meetings because we all speak the same language here (n.27). | San Basilio | ||
After the project I started a collaboration with the master glassmaker Carlo Pagan (n.5). | Venice Original: The art kilometre | ||
I would never have thought of sharing parts of my know-how with the competition; in fact, this opportunity for comparison, which for us in Murano is an absolute rarity, has not only been useful but has allowed me to learn new things and approaches to my working technique (n.22). | San Basilio |
Case Study | N. Companies | N. Associations | N. Cultural Operators | N. Universities | N. P.A. | N. Labs, Workshop | N. Private Events | N. Public Events |
---|---|---|---|---|---|---|---|---|
Fondamenta | 16 | 9 | 32 | 1 | 2 | 2 | 2 | 17 |
Other side | 15 | 3 | 18 | 2 | 2 | 4 | 1 | 2 |
San Basilio | 21 | 3 | 4 | 1 | 2 | 9 | 7 | 3 |
Venice Original | 40 | 6 | 12 | 3 | 3 | 16 | 4 | 12 |
Venice Travel | 108 | 5 | 3 | 2 | 2 | 1 | 1 | 1 |
Bottega Attiva | 25 | 6 | 5 | 2 | 2 | 4 | 2 | 4 |
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Busacca, M.; Paladini, R. Creativity and Social Capital: The Pillars of Venice’s Success in the New European Bauhaus Programme. Soc. Sci. 2022, 11, 545. https://doi.org/10.3390/socsci11120545
Busacca M, Paladini R. Creativity and Social Capital: The Pillars of Venice’s Success in the New European Bauhaus Programme. Social Sciences. 2022; 11(12):545. https://doi.org/10.3390/socsci11120545
Chicago/Turabian StyleBusacca, Maurizio, and Roberto Paladini. 2022. "Creativity and Social Capital: The Pillars of Venice’s Success in the New European Bauhaus Programme" Social Sciences 11, no. 12: 545. https://doi.org/10.3390/socsci11120545
APA StyleBusacca, M., & Paladini, R. (2022). Creativity and Social Capital: The Pillars of Venice’s Success in the New European Bauhaus Programme. Social Sciences, 11(12), 545. https://doi.org/10.3390/socsci11120545