The thesis talks about the development of cultural tourism within the phenomenon of creative tourism. Globalization and cultural democratization led to cultural massification forms, with the consequent growth of cultural tourism from local to the widespread phenomenon. This is what created the need to promote the heritage - both tangible and intangible -, the experience and the creativity, carried out through the cultural tourism, that played a crucial role in the shift from a Fordist urban economy to a knowledge-driven one. The concept of creativity gave birth to sparse concepts such as “creative industries,” “creative districts,” and “creative cities.” The research focuses on the Chinese context, more specifically on the city of Shanghai that, starting in the 1990s, has focused on the creative district’s model to re-build its economy, implementing an urban socio-spatial transformation aimed to rise from the concept of “Made in China” to “Create in China.” Nevertheless, there is a significant paradox: creative districts lack creativity. The most widely known demonstrate gentrification processes and loss of local identity, caused by the standardization of cultural practices and the travel industry’s imposition on utilities and the environment. These places are unsuitable for the accommodation of artists, creative tourists, and concerned about creativity. The research explores alternative models based on creativity and culture as tools to supplement tourism in a both culturally and economically sustainable urban system. The purpose is to foster cooperation among sparse actors and safeguard local identity. Notably, proposing an additional solution to the master plan of urban regeneration in Zhangyuan district is a historical example of Shikumen architecture. The information gathered during the theoretical research - enriched by the data supplied by use-case analysis, interviews with specialists, and surveys - suggests a hybrid accommodation proposal that conjugates a facility’s services with the cultural activities connected to photography and visual art. The scope is the interaction and socialization between travelers, artists, and inhabitants. The project is developed into a residence and a creative center. Through the practice of adaptive re-use, functions and layouts of the spaces of both buildings were defined. Eventually, an interior design intervention of an Artist Apartment and the most representative areas of the creative center is proposed.
La tesi affronta l’evoluzione del turismo culturale all’interno del fenomeno del turismo creativo. La globalizzazione e la democratizzazione culturale hanno portato a forme di massificazione culturali, con la conseguente crescita del turismo culturale da fenomeno circoscritto a diffuso. È nata così la necessità di valorizzare il patrimonio - sia tangibile che intangibile -, l’esperienza e la creatività, concretizzatasi nel turismo creativo, che ha avuto un ruolo cruciale nella transizione da un’economia urbana fordista ad una basata sulla conoscenza. Dal concetto di creatività sono nati i termini “industrie creative”, “distretti creativi” e “città creative”. La ricerca di focalizza sulla realtà cinese, in particolare sulla realtà di Shanghai: a partire dagli anni Novanta, ha puntato sul modello dei distretti creativi per ricostruire la sua economia, attuando una trasformazione urbana socio-spaziale, con l’obiettivo di passare dal “Made in China” al “Create in China”. Vi è tuttavia un paradosso: i distretti creativi mancano di creatività. Anche i più conosciuti evidenziano processi di gentrification e perdita dell’identità di luogo, a causa della standardizzazione dei processi culturali e dell’imposizione del settore turistico su consumi ed ambiente. Questi luoghi non sono adatti ad ospitare artisti, turisti creativi e coloro interessati alla creatività. La ricerca esplora modelli alternativi basati su creatività e cultura come strumenti per integrare l’attività turistica in un sistema urbano culturalmente ed economicamente sostenibile. Lo scopo è favorire la cooperazione tra più attori e salvaguardare l’identità locale. Nel particolare si propone una soluzione integrativa al masterplan per la rigenerazione urbana del distretto di Zhangyuan, esempio storico dell’architettura Shikumen. Le informazioni emerse durante la ricerca teorica - arricchite dai dati raccolti tramite analisi di casi studio, interviste con esperti e questionari – invitano a proporre una soluzione di ospitalità ibrida, che integri i servizi di una struttura ricettiva con l’attività culturale legata alla fotografia ed alle arti visive. Gli obiettivi sono l’interazione e la socializzazione tra viaggiatori, residenti e artisti. Il progetto si articola in una residenza ed un centro creativo. Attuando la pratica del riuso adattivo, sono state definite le funzioni e il layout degli spazi di entrambi gli edifici. Infine, si propone un intervento progettuale degli spazi interni di un Appartamento d’Artista e degli spazi più rappresentativi del centro creativo.
Times and places of creativity. Hybrid hospitality model in the historical Shanghainese lilong district of Zhang Yuan
Riolo, Valentina
2019/2020
Abstract
The thesis talks about the development of cultural tourism within the phenomenon of creative tourism. Globalization and cultural democratization led to cultural massification forms, with the consequent growth of cultural tourism from local to the widespread phenomenon. This is what created the need to promote the heritage - both tangible and intangible -, the experience and the creativity, carried out through the cultural tourism, that played a crucial role in the shift from a Fordist urban economy to a knowledge-driven one. The concept of creativity gave birth to sparse concepts such as “creative industries,” “creative districts,” and “creative cities.” The research focuses on the Chinese context, more specifically on the city of Shanghai that, starting in the 1990s, has focused on the creative district’s model to re-build its economy, implementing an urban socio-spatial transformation aimed to rise from the concept of “Made in China” to “Create in China.” Nevertheless, there is a significant paradox: creative districts lack creativity. The most widely known demonstrate gentrification processes and loss of local identity, caused by the standardization of cultural practices and the travel industry’s imposition on utilities and the environment. These places are unsuitable for the accommodation of artists, creative tourists, and concerned about creativity. The research explores alternative models based on creativity and culture as tools to supplement tourism in a both culturally and economically sustainable urban system. The purpose is to foster cooperation among sparse actors and safeguard local identity. Notably, proposing an additional solution to the master plan of urban regeneration in Zhangyuan district is a historical example of Shikumen architecture. The information gathered during the theoretical research - enriched by the data supplied by use-case analysis, interviews with specialists, and surveys - suggests a hybrid accommodation proposal that conjugates a facility’s services with the cultural activities connected to photography and visual art. The scope is the interaction and socialization between travelers, artists, and inhabitants. The project is developed into a residence and a creative center. Through the practice of adaptive re-use, functions and layouts of the spaces of both buildings were defined. Eventually, an interior design intervention of an Artist Apartment and the most representative areas of the creative center is proposed.| File | Dimensione | Formato | |
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https://hdl.handle.net/10589/173111