The Palazzo Pitti Museum is an integrating part of the Florence Museum Pole, the most substantial Italian Museum pole. With few less than 500.000 visitors each year, it has been proposed as occasion for the research-action experience "La fruizione dei Musei di Palazzo Pitti. Design e Comunicazione" ("The fruition of the Palazzo Pitti Museums. Design and Communication" in the sphere of the ministerial research "D.Cult, Il design per la Valorizzazione dei Beni Culturali" ("D.Cult, The design for the Art Improvement") for the interest shown by the facility Responsibles towards the approach proposed by the research about the improvement theme. The design contribution to the Arts gives rise to interest and it is characterised by its proactive behaviour going well beyond the art nature, by setting up processes of value activation, material or immaterial, in the interaction with the user. A glance concentrated on the experience, then - man a the centre - which differentiates from the more traditional one of the legislator or the curator aiming to guarantee the safeguard and preservation of the art, to conceive the valorisation essentially as protection - good at the centre. MIUR PRIN "D.Cult, Il design per la Valorizzazione dei Beni Culturali"
COMUNICAZIONE E CONSERVAZIONE
FAGNONI, RAFFAELLA
2007-01-01
Abstract
The Palazzo Pitti Museum is an integrating part of the Florence Museum Pole, the most substantial Italian Museum pole. With few less than 500.000 visitors each year, it has been proposed as occasion for the research-action experience "La fruizione dei Musei di Palazzo Pitti. Design e Comunicazione" ("The fruition of the Palazzo Pitti Museums. Design and Communication" in the sphere of the ministerial research "D.Cult, Il design per la Valorizzazione dei Beni Culturali" ("D.Cult, The design for the Art Improvement") for the interest shown by the facility Responsibles towards the approach proposed by the research about the improvement theme. The design contribution to the Arts gives rise to interest and it is characterised by its proactive behaviour going well beyond the art nature, by setting up processes of value activation, material or immaterial, in the interaction with the user. A glance concentrated on the experience, then - man a the centre - which differentiates from the more traditional one of the legislator or the curator aiming to guarantee the safeguard and preservation of the art, to conceive the valorisation essentially as protection - good at the centre. MIUR PRIN "D.Cult, Il design per la Valorizzazione dei Beni Culturali"
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