sustainability

Article Merchandising as a Strategic Tool to Enhance and Spread Intangible Values of Cultural Resources

Doriana Dal Palù *, Beatrice Lerma ID , Marco Bozzola and Claudia De Giorgi Department of Architecture and Design, Politecnico di Torino, Viale Mattioli 39, 10125 Torino, Italy; [email protected] (B.L.); [email protected] (M.B.); [email protected] (C.D.G.) * Correspondence: [email protected]; Tel.: +39-011-090-8823



Received: 27 April 2018; Accepted: 19 June 2018; Published: 21 June 2018


Abstract: The design of cultural and environmental goods can aim at valorising both material and immaterial cultural heritage at different scales. Specifically, the merchandising product, which is often the victim of production stereotypes, can instead collaborate with a disruptive force in the construction of the non-ephemeral “sense” of a visit. It is, in fact, able to spread complex contents in scientifically correct and comprehensible ways for different targets, condensing the immaterial patrimony into (small) new, low-cost and rich-in-meaning artefacts. This case study, proposed as evidence of such an approach, pertains to a research and teaching activity that was developed in 2017 with 230 university students of design, with the aim of setting up a collection of dedicated merchandising products for a regional talc mine Ecomuseum. The challenge involved narrating the material culture of the location through products that were philologically coherent with the context, but new from the language, functionality, productivity, user involvement and economic accessibility points of view. The resulting projects are, at present, being screened by the Ecomuseum in order to select the most significant for future production. In conclusion, the activity was shown to be potentially scalable and repeatable in other contexts, in which design can valorise an intangible heritage of immense value through products that, inserted into a more extensive strategy of valorisation of the cultural heritage, are within the reach of all.

Keywords: cultural heritage; design methodology; design scales and levels; ecomuseum; intangible heritage; material culture; museum merchandising; product design; talc mine

1. Introduction The field of cultural and landscape heritage involves elements of a diverse nature and meaning—often defined and legislated by both national and international standards—and includes both fixed and movable, tangible and intangible assets; generally speaking, systems “of artistic, archaeological, and ethno-anthropological interest” [1], and that are representative of specific cultures and territories. A heritage encompasses a wide range of elements, of a rather broad nature: paintings, sculptures, monuments, books, documents, archives, buildings, and villas, but also public squares, historic centres, entire cities, landscapes, or even aspects of the tangible local culture, religious or pagan traditions, chants, etc. The scope of discussion is thus not only physical or abstract heritage, whether fixed or movable, but even one-of-a-kind or common items [1,2], following a discussion on the topic that may lend itself to multiple interpretations. It is interesting to highlight how Italy, the country boasting the highest number of United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage Sites [3], represents an exceptional treasure chest of cultural heritage at a global level. This is why the Italian nation has a strong interest in the topic; a discussion on actions to safeguard and promote heritage is urgent and unavoidable. In particular, the year 2018—European Year of Cultural Heritage—makes a reflection on the topic even more current.

Sustainability 2018, 10, 2122; doi:10.3390/su10072122 www.mdpi.com/journal/sustainability Sustainability 2018, 10, 2122 2 of 23

In 2005–2007, inter-university research funded by MIUR—Italian Ministry of Education, University, and Research named d.CULT was conducted and focused on the design and promotion of cultural heritage: strategies, tools, and project methods. This MIUR PRIN—project of national relevance—had the purpose of launching a national debate on the basis of Decree Law no. 42 “Code for cultural and landscape heritage” issued on 22 January 2004, with the purpose of dealing with the topic as exhaustively as possible and legislating actions for the safeguard of cultural resources. It saw eight research and design units from Italian universities working to analyse the relationship between design and cultural heritage, and define the role of design in the processes for promotion of such cultural heritage [4]. The debate tended especially to highlight the need to consider the topic of enhancement of cultural heritage, in terms of better promotion and an easier fruition, as an equally important and necessary field to protection and safeguarding actions.

“The link between cultural heritage and the purposes and practices related to design is an extremely recent conquest. It owes its equally young success to the widespread awareness that, as well as being an area that is extremely dense with resources of such type, our country [Italy-Ed.] is also a place strongly in need of an at least revised sensitivity with regard to the use of the cultural property.” [2]

Starting from a socio-cognitive epistemological analysis (in terms of the relationship between design, value, and cultural heritage), the research outlined strategies, tools, and project methods that, over time, have represented the basis for more precise analyses and field experimentation nationwide, in sectors including art, architectural, and environmental excellence, as well as regional material culture. With the starting point of shared know-how deriving from experiences developed in national research (analyses, case studies, field research), a group of design specialists at the Politecnico di Torino has, in fact, approached the topic of promotion of cultural and landscape heritage of the territory with an increasingly strong confidence and methodology, by establishing cooperation agreements—with institutions, museums, and other entities—that are ongoing and have generated noteworthy results. On the basis of such experience, lasting for over 10 years, the authors of this article have, in fact, developed an approach consisting of methods and tools that have been outlined in a recent international publication [5], of which the key elements will be synthetically mentioned, and the validity of which will be proven through an outline of the most recent case of implementation, namely a museum/territory merchandising operation, which is the focus of this article. The research carried out by d.CULT proved how design—intended as a craft for the development of innovative, useful, and functional products and services, equipped with perception capabilities and carriers of conveyable values—finds a natural vocation at the service of cultural heritage, which is an environment in which the promotion of the cultural property [6] has a fundamental role in the survival and development of the property itself. Design is, in fact, a strategic tool for a focus on approaches and solutions with the ability to promote cultural heritage (as described by Monterosso for the mineral museum of Trabia-Tallarita in Sicily [7]) in terms of improving its enjoyment, strengthening its identity, and increasing its key role in the local economy. Museums and heritage sites, in fact, can produce monetary values for other economic actors by creating additional jobs and commercial revenue, particularly in the tourist and restaurant industries [8]. The identity and cultural peculiarities of a territory—from its historical artistic heritage to its environmental resources, as well as its local material culture—indeed represent a system of values that require, along with suitable safeguarding actions, particular attention to promotional and valorisation strategies. In particular, design applied to cultural heritage has the ability to translate the intangible nature [9–11] of a message as well as its implicit cultural value, and make them tangible and comprehensible through meaningful products, or services, or experiences that coherently reference the same galaxies of values. The “Histoire de Paris” plaques by Philippe Starck, i.e., the set of Sustainability 2018, 10, 2122 3 of 23 information plaques scattered throughout the city of Paris in front of various Parisian monuments, are one example of how design can convey an intangible value—in this case, the Latin motto of the City of Paris, “Fluctuat nec mergitur” (“battered by the waves, but never capsized”), recalling the vessel of the water merchants of Paris—into tangible objects, through the most appropriate choice of shape, similar to an oar, and the colours (for a complete census of the Histoire de Paris plaques project: www.openplaques.org). Through the mediation process controlled by design, the cultural resource takes on a modern significance that target users of different cultural backgrounds are able to perceive. Design, therefore, carries out an action that is not only “useful” (in terms of development of useful products and services), but also an action of “social responsibility”, in that it contributes to the focalization and communication of universal cultural values through a language that is accessible to all target markets [5]. Moving slightly beyond such a concept, one can also state that the ability to make the system of values defining cultural property popular and accessible is an essential condition for its very existence (i.e., “I recognize it as such, therefore it exists”).

Museum Merchandise: A Literature Review of Case Studies and of the Historical Background A literature review of case studies and of the historical background on museum merchandise was performed in order to contextualize the topic. As suggested in literature [12], merchandising can prolong the museum experience and, more in detail, can improve the traditional educational mission of the museum through its merchandise selection [13]. Already in 2000, Theobald [14] proposed the educational role of a museum shop, in order to contribute to the educational purpose of the museum. As mentioned [15], museum merchandise has been present for a long time, first of all in the United States. For example, the Metropolitan Museum of Art in New York, that can be considered an excellence case study for museum merchandising, has included editorial activity and merchandising since its foundation in 1870: in fact, in 1871 the museum decided that the masterpieces of ancient masters should be reproduced for sale (c.f. Ugo La Pietra Reproduction). Afterwards, museums in Europe and elsewhere followed the example of the Metropolitan Museum of Art. In Italy, for the MiBAC, Ministry of Cultural Heritage and Activities, the Ronchey law paves the way for a new system of selling both products and the image of museums in order to promote culture through objects and their representations or reproductions. The law introduces the concept of “cultural memory”, which is not and should not be transferred into a mere souvenir [16]. Moreover, an important aspect to be considered in order to increase the museum merchandising design is that the bookshop/museum store turnover is constantly growing; furthermore, as suggested by Mauri and Cirrincione [17], the museum experience can be enriched and intensified, prolonging itself in an indefinite time, also thanks to the museum shops: “the merchandising covers a share that varies between 30% and 50% of book sales, depending on the type of museum and exhibition” [16]. Museums, in fact, acquired a new role: as a business [18], they must be able to disseminate culture and collections and also be self-financing, thanks to their shops.

2. Discussion about Design Methods. Previous Experiences and Epistemological Definition of Design for Cultural Heritage Building on the aforementioned foundations defined by the authors of this article throughout the years with some past research experiences, an approach to the topic that consists of a multi-level classification and a set of cultural tools that may help those operating in the design sector have a better picture of the topic of design applied to cultural heritage, defining an epistemological–methodological perimeter, will be described thereinafter. Some of the previous experiences in this context are, for example, Scopriminiera (project dedicated to the conversion of an abandoned talc mine in Prali (To) for education and tourism; this created an articulated and widespread ecomuseum, which comprises the Mine Museum, the Mine Tour, the Miner’s Canteen, the Study Centre and mountain itineraries, service structures.) [19]; New Mondovì Ceramics (research and didactic operation Sustainability 2018, 10, 2122 4 of 23 developed in partnership between Mondovì Council for Culture and Politecnico di Torino—Industrial SustainabilityDesign. This2018, 10 involved, x FOR PEER160 REVIEW tutored students exploring the possible typological, functional 4 of and 23 expressive directions with which Mondovì ceramics was called upon to face in its renewal.) [20]; renewal.) [20]; Savoy Greenways (project developed in collaboration between Politecnico di Torino— Savoy Greenways (project developed in collaboration between Politecnico di Torino—Design and Design and Finpiemonte, the financing body of the Piedmont Region, for the definition of a tourist Finpiemonte, the financing body of the Piedmont Region, for the definition of a tourist proposal aimed proposal aimed at creating a cycling circuit capable of connecting the “Savoy Residences” within at creating a cycling circuit capable of connecting the “Savoy Residences” within Piedmont.) [21]; Piedmont.) [21]; Eco e Narciso (during the 2008 Torino World Design Capital, the cultural show “Eco Eco e Narciso (during the 2008 Torino World Design Capital, the cultural show “Eco e Narciso” asked e Narciso” asked five international design schools (Royal College of Art London, NABA Milan, five international design schools (Royal College of Art London, NABA Milan, Design Academy Design Academy in Eindhoven, Konstfack Stockholm, Politecnico di Torino) to reinterpret the main in Eindhoven, Konstfack Stockholm, Politecnico di Torino) to reinterpret the main processes and processes and products of material culture in the province’s ecomuseums: water, clay, cotton, talc, products of material culture in the province’s ecomuseums: water, clay, cotton, talc, stone (“Rorà stone (“Rorà stone” developed by Politecnico di Torino).) [22]; Materialmente (research and design stone” developed by Politecnico di Torino).) [22]; Materialmente (research and design activity for the activity for the development of merchandising and service products for the system of Royal development of merchandising and service products for the system of Royal Piedmontese Residences, Piedmontese Residences, made by craftsmen within the region. A project developed in collaboration made by craftsmen within the region. A project developed in collaboration with Confartigianato with Confartigianato Torino, a local trade association which has been experimenting new ways of Torino, a local trade association which has been experimenting new ways of sustaining its members sustaining its members for years.) [23]; Savoir Bois (project aimed at enhancing the wood chain in the for years.) [23]; Savoir Bois (project aimed at enhancing the wood chain in the light artisan-processing light artisan-processing sector in the Piedmont area, for the production of outdoor furnishings sector in the Piedmont area, for the production of outdoor furnishings conceived in compliance with the conceived in compliance with the principles for the promotion of local resources, linguistic principles for the promotion of local resources, linguistic contextuality, and pursuit of the installation contextuality, and pursuit of the installation of a widespread uniform system of identifying urban of a widespread uniform system of identifying urban furniture throughout the area. The project was furniture throughout the area. The project was realized in collaboration between Politecnico di realized in collaboration between Politecnico di Torino, Comunità Montana Valli del Monviso, and the Torino, Comunità Montana Valli del Monviso, and the local craft enterprises.) [24]. In this regard, see local craft enterprises.) [24]. In this regard, see Figure1a,b, which highlights the research carried out in Figure 1a,b, which highlights the research carried out in relation to these tools, described more in relation to these tools, described more in depth in the next paragraphs. depth in the next paragraphs.

(a)

Figure 1. Cont. Sustainability 2018, 10, 2122 5 of 23 Sustainability 2018, 10, x FOR PEER REVIEW 5 of 23

Sustainability 2018, 10, x FOR PEER REVIEW 5 of 23

(b)

(b) FigureFigure 1. 1. ((aa)) A A synthetic synthetic view view of of some some previous previous research research (Scopriminiera; (Scopriminiera; New New Mondovì Mondovì Ceramics;Ceramics; SavoySavoyFigure Greenways; 1. (a) A EcoEcosynthetic ee Narciso)Narciso) view of carried carried some outprevious out by by the researchthe authors. authors. (Scopriminiera; The The coloured coloured New areas arMondovìeas highlight highlight Ceramics; in each in each case casethe adoptedtheSavoy adopted Greenways; levels, levels, categories Eco categories e Narciso) and spheresand carried spheres ofout action by of the ac of tionauthors. the of design the The design coloured for cultural for ar culturaleas heritage. highlight heritage. Inin theeach In graph the graphin thecase in top-left, the the top-left, adopted a dotted a levels, dotted line categories indicates line indicates and the spheres “In the miniera!”—Merchandising “In of miniera!”—Merchandising action of the design for cultural for thefor heritage. Ecomuseumthe Ecomuseum In the of the of graph in the top-left, a dotted line indicates the “In miniera!”—Merchandising for the Ecomuseum of themine mine research, research, whose whose results results are disclosed are disclosed in the in present the present article; article; (b) a synthetic (b) a synthetic view of someview previousof some the mine research, whose results are disclosed in the present article; (b) a synthetic view of some previousresearch (Materialmente;research (Materialmente; Savoir Bois) Savoir carried Bois) out bycarried the authors. out by The the coloured authors. areas The highlightcoloured in areas each previous research (Materialmente; Savoir Bois) carried out by the authors. The coloured areas highlight in each case the adopted levels, categories and spheres of action of the design for cultural case thehighlight adopted in each levels, case categories the adopted and levels, spheres categories of action and ofspheres the design of action for of cultural the design heritage. for cultural heritage. heritage. 2.1. The Three Interpretation Criteria for Cultural Heritage Design 2.1. The2.1. Three The Three Interpretation Interpretation Criteria Criteria for for Cultural Cultural Heritage Heritage Design The method presented originates from the evidence that design for cultural heritage activity mayThe essentially methodThe method be presented categorized presented originates originates following from from three the the evidence evidence main interpretation thatthat design design for for criteria, cultural cultural schematizedheritage heritage activity activity in may Figure may2, essentially be categorized following three main interpretation criteria, schematized in Figure 2, essentiallyspecifically: be (i) categorized it may be included following among three a seriesmain in ofterpretation recurring “spheres criteria, of schematized action” (cf. Sectionin Figure 2.1.1 2,), specifically: (i) it may be included among a series of recurring “spheres of action” (cf. Section 2.1.1), specifically:corresponding (i) it to may different be included types of among cultural a series heritage; of recurring (ii) it is applicable “spheres of through action” specific (cf. Section “categories 2.1.1), correspondingcorresponding to different to different types types of ofcultural cultural heritage; heritage; (ii) itit is is applicable applicable through through specific specific “categories “categories of action”of action” (cf. (cf. Section Section 2.1.2);2.1.2); (iii) (iii) it develops it develops on different on different “levels of “levels action” (cf. of action”Section 2.1.3). (cf. Therefore, Section 2.1.3 ). of action” (cf. Section 2.1.2); (iii) it develops on different “levels of action” (cf. Section 2.1.3). Therefore, Therefore,it avails it availsitself ofitself three of cultural three cultural tools (cf. tools Section (cf. 2.2), Section namely: 2.2 ),(i) namely: the “scenario (i) the analysis”; “scenario (ii) analysis”; the it(ii) avails the“selection “selectionitself of referencethree of reference cultural points” tools points”and (iii) (cf. theand Section “shared (iii) 2.2), thedesign” “sharednamely: with the design”(i) parties the “scenario involved. with the Theanalysis”; parties originality involved. (ii) the “selectionThe originalityof this of methodology referenceof this methodologypoints” lies in andbeing (iii) liesadaptable the in “shared being and adaptable re-configurable,design” with and re-configurable,the in partiesorder to involved. better in fit order the The specific tooriginality better fit ofthe this specificneeds methodology of needs the cultural of thelies heritage cultural in being site, heritage adaptable by acting site, onand by interpretation actingre-configurable, on interpretation criteria inand order cultural criteria to tools.better and culturalfit the specific tools. needs of the cultural heritage site, by acting on interpretation criteria and cultural tools.

FigureFigure 2. A 2. synthetic A synthetic view view of of the the three three interpretationinterpretation criteria criteria for for cultural cultural heritage heritage design. design.

2.1.1. Spheres of Action 2.1.1. SpheresFigure of 2. Action A synthetic view of the three interpretation criteria for cultural heritage design. We may include among spheres of action the contexts that require the development of specific We may include among spheres of action the contexts that require the development of specific 2.1.1. Spheresproducts ofor Actionservices, such as those related to the enjoyment of locations or to mobility, accessibility, productsnarration or services, etc.; or more such general as those strategies related in tosupport the enjoyment and for the oforientation locations of or local to mobility,policies. These accessibility, are narrationWejust may a etc.; few include orof the more fields among general of operation spheres strategies of of design action in support for the cultural contex and heritage, forts thethat orientation butrequire are certainly the of development local the most policies. frequent, of These specific are productsjust aand few orstimulate of services, the fields a number such of operation as of those possible ofrelated outlet design s.to We forthe shall cultural enjoyment thus heritage,mention of locations the but following: are or certainly to mobility, the most accessibility, frequent, narrationand stimulate etc.; or a numbermore general of possible strategies outlets. in support We shall and thus for mention the orientation the following: of local policies. These are just a few of the fields of operation of design for cultural heritage, but are certainly the most frequent, and stimulate a number of possible outlets. We shall thus mention the following: Sustainability 2018, 10, 2122 6 of 23

• Museum systems, which are par excellence locations/containers of culture; • The collections exhibited therein, namely artworks and other creative works presented in temporary or permanent exhibitions; • Ecomuseums: sites specifically designed to recover the meaning and history of a location, whose identity is based upon the territory itself and the community living in it [25]; • Environmental and natural heritage, namely historic national parks, theme-based itineraries, natural reserves, and portions of the territory that have a recognized historical or landscape value; • Historic buildings with a particular architectural value and are a witness of the area and its social, political, and cultural history; • Art cities: sites that are steeped in unique historic, architectural, and artistic witnesses, which are often targeted by mass—and not always sustainable—tourism.

2.1.2. Categories of Action The different “ways” in which design for cultural heritage expresses itself are a reflection of the cultural responsiveness and project flexibility that the topic calls for. They intertwine with the aforementioned project elements and, as we shall see thereinafter, apply to different “levels of operation”, thus creating a system of tools and practices that makes design for cultural heritage a true “art within the art”. We therefore choose to mention the following:

• Encourage use: to develop systems and products to facilitate access to exhibition areas and areas of cultural interest. This set of actions involves infrastructure and services for transportation and accessibility, museum cards, rest/refreshment areas, etc. • Set up: products for functional setup of local areas of excellence and museum systems (development of exhibition setup systems, ad hoc furnishings, accessories, curtains and tablecloths for inside food courts, point-of-sale (POS) displays for bookshops, display cases for exhibition rooms and their related lighting systems, labelling and information panel systems, etc.); • Promote: systems for the communication and promotion of cultural sites and collections (brochures, posters, dedicated merchandise, advertisement campaigns, websites, etc.); • Inform, identify: systems and products for information and communication of cultural heritage and events (e.g., maps, display cases, flyers, labels, totem displays, monument signs, street signs, landmark structures, information centres, web and mobile technology).

2.1.3. Levels of Action Moving on to the different levels of action at which design operates, one may consider a varied range of implementation including products, services, and strategies, for which design takes on the role of a multi-dimensional operational tool. The three different levels present a wide margin of overlap; in fact, service design often includes product design actions, just like strategic design may involve the development of products and services.

Product Design Level of Action Given that product design is meant as the design of elements—mostly “physical” elements—with which the user interacts directly, we immediately consider how wide the range of levels may be: from street furniture for the use of city spaces, to accessories for indoor visits (e.g., exhibition walling panels, furniture for rest/refreshment areas, display cases), from communication and mapping elements to the design of elements able to indirectly narrate a location and a context, such as packaging of local products or elements of local merchandise (which will be analysed in depth in the Results section). Even interior design—when developed following certain criteria for use of local resources, revaluation and narration of the material culture, activation of good practices for the re-launch of craft economies—may certainly be included among approaches for the promotion of the territorial system and thus local cultural heritage. Sustainability 2018, 10, 2122 7 of 23

Service Design Level of Action Service design—the dimension in which the design operation is performed to develop experiences that actively involve the final user, with the purpose of communicating values, meanings, and functions of systems within the area—includes quite different levels of action. It concerns services for the distribution of goods, actions to foster socialization among the locals, digital/analogue systems (e.g., of hypermediated or immersive type [26]) to communicate the characteristics of the areas (signage apparatus, visual systems to display data, web platforms and apps for virtual access), mobility services (bike-sharing, car-sharing, carpooling, etc.), organized itinerary systems for the promotion of local cultural and environmental heritage and to incentivise tourism (e.g., the tour itinerary of the Valle Germanasca Ecomuseum for the promotion of mining culture, which we shall discuss more in detail later).

Strategic Design Level of Action Strategic design levels are even broader, as they include design operations with the purpose of establishing an organization between parties involved in a certain territory, each capable of providing added value to the area itself and the people living in it. This field includes operations aimed at redefining production processes or exchange and relationship modes between parties involved locally, also to generate mutual cooperation (e.g., production line innovation, configuration of cooperative craftsmen communities); actions for the repositioning of specific companies (diversification of production and detection of new markets, process and product upgrade/update, etc.); social innovation actions or operations typical of systemic design, in terms of planning of material, energy, and data flow, which generates new economies for the territory as they shift from one system to the another.

2.2. The Three Cultural Tools for Cultural Heritage Design As previously stated, and in accordance with the methodology chosen by the design team of the Politecnico di Torino, cultural tools used in design for cultural heritage and material culture, which are focused on the promotion and valorisation of cultural property through the design of new products, services, and strategies (thus applicable to all project levels), mainly include the interlinked context analysis, selection of reference points, and shared design, described as follows:

2.2.1. Scenario Analysis An accurate and critical study of the historical–cultural–environmental–technological context of reference, summarized in brief. The function of the context analysis is thus to support the metadesign phase through the selection and highlighting of topic-related information and knowledge. From a methodological perspective, the context analysis developed within the Design modules of the Politecnico di Torino completes and widens the metadesign action of the requirement/performance approach presented by Giuseppe Ciribini, according to which human demands must be translated—in the design phase—to the product requirements corresponding to the final performance features [27]. The performance-based industrial design philosophy is, in turn, inspired by the quality function deployment (QFD) method developed in Japan already in the 1960s, which was later spread worldwide, and had the final aim of introducing the customer’s basic requirements for a good/service to the design phase. A critical mass of data and references to the topic of discussion are therefore pointed out: social, cultural, and ethical values, but even historical, production-related, and technological knowledge, which will make up a pseudo-database from which to tap into throughout the formulation of the project proposal [28]. That means that “design must consider the complexity and the variety of the contemporary world and act like a link among different aspects which gravitate around a point of interest” [29]. Sustainability 2018, 10, 2122 8 of 23

2.2.2. Selection of Reference Points The activity dedicated to the selection, extrapolation, and abstraction of peculiar and distinguishing elements of the context—shapes, colours, materials, technology, uses, behaviours related to the local culture and/or tradition—to be highlighted or to cross-breed with new materials and technology, thus to be adapted (with an historical and social understanding) to new consumption methods [30,31]. This selection may be represented as a catalogue of reference points, which designers may draw inspiration from, directly quoting or referencing them. Drawing elements from this catalogue can help in showing the “belonging” of the concept to the set of values of the analysed context. A similar process applied to redesign the Islamic rosette patterns, enhanced by computer-assisted image analysis techniques, is proposed in literature [32].

2.2.3. Shared Design The availability of the designer to take part in a joint design with the involved parties (the local community, the craftsman/manufacturing or processing firm, the visitor/end user). The designer’s role is not so much that of responding to the requirements of the context and target users by presenting packaged/closed-ended turnkey projects, but to indicate pathways, as well as focusing on new methods of conceiving a product, new approaches to the process and production line, languages, creation or update of finishing and construction techniques for handcrafted artefacts, introduction of process sustainability, etc. In short, to create open-ended projects, presented in the form of “guidelines” that can be interpreted by the community, always following certain shared rules, namely sustainable manufacturing practices and market contexts in which the end users are directly involved in the cultural action [33], and allowing citizen and community participation in promotion processes through tools and actions [34]. Following this necessary epistemological–methodological introduction, we now intend to focus, in particular, on the role of the item of merchandise as an especially interesting field within the design activities for the promotion of cultural heritage.

2.3. Merchandise Design Merchandise can be considered as one part of a branding strategy, aimed at enhancing the identity of a place, an institution, or a cultural site. The item of merchandise, often the victim of design and manufacturing stereotypes [16] that lead to it being a souvenir characterised by a “kitsch attitude” [35,36], presents room for improvement in contrast to the strategy of the mere application of a logo on globalized objects [37]. Within a broader strategy for promotion of the cultural property’s contents and identity, merchandise may strongly contribute to the build-up of a non-ephemeral “sense” to the property, and extend the experience over time by condensing the intangible cultural heritage to new, highly meaningful (little) artefacts, at a moderate price and able to convey complex contents in a way that is scientifically adequate and comprehensible to different categories of target users. In fact, merchandise may be produced for free promotion purposes, often non-contextual and not always useful, at least not something truly needed, in which the product is a means to expose a brand, which is the real objective of the operation (such products are often small consumer goods of little worth, such as caps, t-shirts, key chains, pins, pens, umbrellas, etc.). Merchandise may also be produced for commercial purposes, with the products being functional and designed to promote a brand or cultural resource (the consumer spontaneously decides to purchase such items). We thus highlight the opportunity to develop items of merchandise that are dedicated, specifically designed for a particular site, and not consumerist, i.e., not anonymous globalized objects. The new merchandise will result from the previously listed activities (analysis, selection and synthetic re-processing of cultural content and distinguishing features of the heritage to promote, and share the Sustainability 2018, 10, 2122 9 of 23 design with the involved parties). The new products have to be “democratic”, in terms of qualitatively reliable, socially and environmentally sustainable and economically affordable to everyone, as pillars of the design discipline [38]. Furthermore, once brought home, these products may continue to narrate the experience of the visit and extend it. At a small scale and relegated to specific contexts, consciously designed merchandise does exist, and follows a philosophy according to which the product is designed to perform a particular function. Furthermore, it has a meaning which is in context and coherent with the identity that is being promoted, in compliance with a double functional and symbolic attitude [39]. Well-designed merchandise for cultural heritage must present conveyable cultural contents and make them recognizable, must be representative of the context it originates from, and possibly have a playful dimension as well. Such a product is a valid alternative to promotional merchandise, which is generic, “soulless”, made of little more than logos, and still deeply rooted (and popular) especially in promotional campaigns.

2.3.1. Museum Merchandise As a sub-category of merchandise for cultural heritage, the products and services (that, depending on the strategy adopted, may have promotional and/or commercial purposes) designed to give an added value to the visit to a show or a museum are defined museum merchandise. It may be considered as a reference point to outline certain key phases of the museum visit experience itself. The first phase is the choice and selection of the show/museum to visit; secondly, there is the visit to the cultural site itself; and finally, there is the phase in which cultural site/museum merchandise finds its place, namely the museum gift shop. Such a final phase may thus turn into a continuation of the visit itself: the purchase of merchandise—when the products are well-designed and coherent with the contents of the show or museum—follows, extends, and completes the visit experienced, which thus “becomes richer and more intense, extending for an indefinite amount of time” [17]. The purchase of a coherent and good merchandise product can moreover become a way, for visitors characterized by “pro-environmental behaviour”, to participate in economically supporting the cultural heritage site and its values with a small “financial action” [40].

2.3.2. Types of Merchandise for Cultural Heritage—A Possible Classification Items of merchandise belong to more popular product categories, each satisfying different promotion strategies used by the museum, and to the diverse characteristics of the show (Figure3). We may thus classify the merchandise as follows: (i) Generic and customisable, namely industrial products of common use that are customised with the museum or institutional logo (e.g., mugs, caps, t-shirts). The communication element relies completely upon the customisation, and the product does not make reference to the cultural heritage promoted in any other way; (ii) Dedicated, namely merchandise that is designed ad hoc for all previously listed spheres of action (art cities, bookshops in museums or permanent/temporary exhibitions, etc.) thus, in detail: permanent dedicated merchandise, namely products sold that are conceived as an expression of the distinguishing traits of the collection, the essence of the museum, or the cultural property itself. This type of merchandise maintains its full meaning and sense when sold within the museum walls or within the cultural and territorial context for which it has been developed; temporary dedicated merchandise, namely product types designed purposely for specific events and temporary museum collections. The artefacts relate to the contents of the show through different types of references (replicas, hints of distinguishing features of the collection, etc.); territorial merchandise, namely dedicated merchandise that is designed with the aim of promoting the characteristics of a local/regional/national territory to which the museum belongs. It may include products that celebrate the area (through references to local art and architecture), or an expression of the tangible culture (handcrafted and artistic local products, local food and wine specialties, etc.); (iii) Authorial, namely objects related to design-oriented functions (household goods, simple and special objects, or products designed by top-notch designers), and not necessarily referencing the location or the museum collections. Sustainability 2018, 10, 2122 10 of 23

In particular, in terms of dedicated merchandising projects, there have been some noteworthy alternative approaches. For example, Ugo La Pietra [41] focused on specific product types that may be developed taking inspiration from certain recurring design approaches, namely: Sustainability 2018, 10, x FOR PEER REVIEW 10 of 23 • The philologically accurate reproduction of the artefacts present in the museum (replicas); • The philologically accurate reproduction of the artefacts present in the museum (replicas); • The reproduction of the original artefact following a financial logic (scale models); • The reproduction of the original artefact following a financial logic (scale models); • • Scale-modelScale-model reproductions reproductions made made of of a a differentdifferent material;material; • • ReproductionReproduction of of the the artefact artefact on on a differenta different medium medium (print (print on on a scarf, a scarf, engraving engraving on on ceramics, ceramics, etc.); • Referenceetc.); to distinguishing features or details of the artefacts within different products • (conveyanceReference ofto values),distinguishing i.e., with features a “figurative” or detail approach;s of the artefacts within different products • Hint(conveyance to the artefact: of values), the producti.e., with hasa “figurative” nothing explicitly approach; resembling the artefact, but the project • behindHint to it hintsthe artefact: to it somehow, the product i.e., has with nothing a “metaphoric” explicitly approach.resembling the artefact, but the project behind it hints to it somehow, i.e., with a “metaphoric” approach. On the basis of the above classification, it can be stated that the first four approaches, related to the On the basis of the above classification, it can be stated that the first four approaches, related to reproduction of the artefact, may be considered correct and effective, although they do not necessarily the reproduction of the artefact, may be considered correct and effective, although they do not involve the designer in their development, which is often the domain of the manufacturer. On the necessarily involve the designer in their development, which is often the domain of the manufacturer. other hand, the last two approaches seem more interesting in terms of the interpretation implications On the other hand, the last two approaches seem more interesting in terms of the interpretation they offer, more suited to a designer’s cultural and methodological operation. implications they offer, more suited to a designer’s cultural and methodological operation. But,But, as as every every new new methodmethod proposed in in literature literature must must be be soon soon tested tested with with a real a realapplication application of ofit into a practical case case study, study, the the general general theo theoryry and and mechanisms mechanisms here here proposed, proposed, i.e., i.e., the the three three interpretationinterpretation criteria criteriafor for cultural heritage heritage design design proposed proposed in Section in Section 2.1 and 2.1 the and three the cultural three cultural tools toolsfor forcultural cultural heritage heritage design design proposed proposed in Section in Section 2.2, were 2.2 applied, were appliedto a research to a and research didactic and activity, didactic activity,with the with purpose the purpose of experiencing of experiencing and trying and the trying meth theod in method a scientific in a scientificbut also applicative but also applicative context. context.This experienceThis experience representsrepresents the practical the practicalimplementa implementationtion of this work, of thisand work,the experience and the itself, experience the itself,selected the selected case study, case study,the adopted the adopted working working method method,, the results the results obtained obtained and their and evolutions their evolutions are arepresented presented in inSection Section 3 3and and discussed, discussed, together together with with the the opportunities opportunities offered offered by the by themethod method in in Section 44..

FigureFigure 3. 3.A A graphic graphic classification classification ofof differentdifferent types of merchandise merchandise for for cultural cultural heritage. heritage.

Sustainability 2018, 10, 2122 11 of 23

3. Practical Implementation. New Merchandise for the Ecomuseo Delle Miniere e Della Valle Germanasca This section presents a detailed analysis highlighting the results of the previously outlined method and approach, applied to a dedicated design project for the Ecomuseo delle Miniere e della Valle Germanasca (Valle Germanasca and Mine ecomuseum) in Prali (Turin, Italy). This ecomuseum is distinguished by a very rich cultural programme and has had great success in terms of visitors, but with a bookshop offering low-quality merchandise that fails to fully convey the cultural contents of the experience. For this reason, in-depth work on museum merchandise products was much needed, and this opportunity generated the room to apply the previously described method.

3.1. From Theory to Practice: The Ecomuseo Delle Miniere e Della Valle Germanasca and the ‘In Miniera!’ Project Even if the reconversion of historic buildings as museums is quite frequent, preservation not only of historic buildings and sites, but also of historical plants is necessary not only to attest the technological evolution in relation to the changing ways of life, but also to attest that they can sometimes be re-employed, depending on their typology, through the use of new technological products, taking advantage of their cultural potentiality [42]. With this aim, since 1998 the Ecomuseo delle Miniere e della Valle Germanasca (about 70 km away from Turin) has been recovering and promoting the rich cultural heritage related to talc extraction (the precious “white of the Alps”). With about 16,000 visitors per year, the museum narrates the mining activity (the technology related to talc extraction, and talc mines building) and the life (traditions, religion, community) of the miners in the Germanasca valley up until the 1960s, when the decline of the mining activity and shutdown of the mines began. After a long period of economic stagnation, in the 1990s the Comunità Montana (Consortium of Mountain Municipalities) of the valley—also supported by the Politecnico di Torino—had sensed the potential of the cultural and material heritage of the mines, and launched a brainstorming process for possible promotion strategies and services that would distinguish the package. Through participation in European Union (EU) projects and, thus, thanks to the participation of regional stakeholders and the whole community, and to an accurate management of the complex development process, the initiative enjoyed considerable success. After the creation of ScopriMiniera (“discover the mine”, 1998), which visitors positively responded to from the very start, the package was broadened through different spin-off projects, with the most evident being the second visit itinerary named ScopriAlpi (“discover the Alps”, 2013), especially dedicated to fostering knowledge of minerals and the stratigraphy of the valley. Following the above described operation criteria (c.f. Section2) the design for cultural heritage has been developed involving every level the local community, as the only way to establish a “community co-management framework”, in order to mobilize residents to participate in heritage conservation and enhancement [43]. Specifically, in coherence with the previously described classification, it has touched upon the following:

• different spheres of action (the outdoor part of the museum, the mine itinerary, and the environmental/natural heritage); • different categories of action (promotion, information, and highlighting the most significant elements of the mining culture in an enticing way); • different levels of action: strategic design, to give new value to abandoned mines thanks to a package that was included in the network of European ecomuseums and mining museums (For more details concerning the National Network of Parks and Mineral Museums, see [44]); service design, to make them accessible and interesting for a diverse target audience (educational workshops for schools, visits led by former miners, special itineraries for mine lovers); and ad hoc product design (outdoor and indoor setups, infrastructure designed for the visit, such as Sustainability 2018, 10, 2122 12 of 23

mine trains on-board which visitors travel across the mines, clothing for the visitors, signalling systems, etc.).

In terms of the aforementioned strategic and service design levels of action, the ecomuseum presents a remarkably evolved communication language. During the visit to the museum and mines, the relationship with the visitor hinges on the identification with the miner or explorer (in every aspect including clothing, the journey on the mine train, the miners’ shadows emerging from the talc, and sound effects), though maintaining the scientific nature of the narration. Indeed, the information collected from its repositories (archives, memories, and stories of witnesses), is evolved in a synthetic and modern fashion, but kept true to its origins thanks to a deeply respectful attitude towards the involved community’s cultural heritage, favouring the choice of realistic mining materials and technology for all its operations (including scaffolding boards, classic mining colours for the trains, stencil-style engraving techniques, etc.). Therefore, the approach had to be standardized even at the product design level of action: this was the foundation of the “In miniera!” (to the mine!) didactic and research project. The operation, in force since 2016–2017, is particularly interesting in that, as well as enriching the visitor experience through new merchandising projects, completes the set of levels of action (cf. Section 2.1.3) in which the design team of the Politecnico di Torino has already been involved by the Ecomuseum. In fact, among the possible uses of product design, merchandise had not been dealt with before the “In miniera!” initiative. Until the year 2017, the ecomuseum limited itself to offering self-created products, such as “branded” objects (e.g., t-shirts, caps, mugs) or products deriving from immediate reference to traditional objects of the valley and the classic mining/mountain world in general, in a simple or even pedestrian version (e.g., a dwarf miner), and transposed to “non-contextual” products such as key chains, knick-knacks, and fridge magnets, manufactured using disparate technologies. With this in mind, the product-merchandising project becomes a pillar of the product design level of action. The previously described epistemological basis and methodology are then adopted in the operation in question, which is also the most recent operation carried out by the authors of this article in the design of the cultural heritage research field (c.f. Section2). As mentioned, the operation was aimed at the creation of a dedicated, geographic area-specific collection of museum merchandise, to be inserted in the bookshop on the occasion of the museum’s 20th anniversary (autumn 2018).

3.2. The Working Method “In miniera!” was a challenge with a research and education feel, because of the cooperation between the Ecomuseo delle Miniere e della Valle Germanasca and the Politecnico di Torino. The new merchandising project involved about 230 Year 1 design students at the university, in groups of 3 or 4, who worked constantly under the guidance and tutorage of senior lecturers and workshop co-operators, including the authors of this article. In terms of the working method, the operation adopted the three cultural tools for cultural heritage design previously disclosed (c.f. Section 2.2). The first phase of the didactic experience involved indeed the scenario analysis, i.e., an analysis of the context of reference of the Ecomuseum. This tool has allowed an interpretation of the historical, social, and cultural context, as well as a technological, market, and buyer framework. Furthermore, it allowed the development of a critical set of environment-specific characteristics (the commissioner identity, the ecomuseum and educational visit worlds, the target market, the state of the market, the social–cultural scenarios in terms of museum experience, as well as the new visit types and customer demands). This phase was followed by the selection of reference points, i.e., an extrapolation of peculiar and distinguishing elements of the mine consisting of iconographic and written documentation produced by the group of lecturers upon agreement with the commissioners. The above informative documentation has represented the reference point for the subsequent design process, and has been a fundamental component in order to outline approaches, solutions, and opportunities with the power to bring a conscious metadesign evolution [45]. Finally, the sharing design tool was adopted: upon sharing the work environment Sustainability 2018, 10, 2122 13 of 23 and its peculiarities by means of in-class presentations and on-site visits, the students have been invited to develop highly significant and uncommon design proposals. Different target audiences and financialSustainability means 2018, 10 have, x FOR been PEER taken REVIEW into account, based on the current Ecomuseums targets: (i) 13 groups of 23 of children and students; (ii) families, in particular on weekends and holidays and (iii) Italian and foreignholidays mineralogy and (iii) Italian or mountain and fore lovers.ign mineralogy The purchasing or mountain power lo andvers. tendency The purchasing to spend power reported and by tendency to spend reported by the ecomuseum bookshop are quite low, ranging from 5 euros for the ecomuseum bookshop are quite low, ranging from 5 euros for children/young adults on field children/young adults on field trips, to 15 euros for mineralogy/mountain lovers. This information trips, to 15 euros for mineralogy/mountain lovers. This information was also considered in the was also considered in the concept development. concept development. The design students were invited to use, for their proposals, materials and processing techniques The design students were invited to use, for their proposals, materials and processing techniques with the potential to promote talc as the protagonist of the narration and visit. The “figurative”, i.e., with the potential to promote talc as the protagonist of the narration and visit. The “figurative”, giving a hint to the artefact, or “metaphoric”, i.e., providing a reference to the artefact, design i.e., giving a hint to the artefact, or “metaphoric”, i.e., providing a reference to the artefact, design approaches were preferred among those by La Pietra [41] (c.f. Section 2.3.2), in order to capitalize on approaches were preferred among those by La Pietra [41] (c.f. Section 2.3.2), in order to capitalize on references and witnesses to present products that are new but respect the past, and are philologically references and witnesses to present products that are new but respect the past, and are philologically coherent with the Ecomuseum’s message and mission. coherent with the Ecomuseum’s message and mission. The approximately 50 resulting products (some of them are represented in Figure 4 and in a The approximately 50 resulting products (some of them are represented in Figure4 and in a more more specific description in Appendix A) are conceived upon a survey of the distinguishing features specific description in AppendixA) are conceived upon a survey of the distinguishing features of the of the ecomuseum, far from the traditional merchandising stereotypes, seeking product innovation ecomuseum,in the name farof functionality, from the traditional sustainability, merchandising formal language, stereotypes, active seeking involvement product innovationof the user, inand the nameaffordability. of functionality, sustainability, formal language, active involvement of the user, and affordability. 3.3. Classification and Analysis of New Merchandise Proposals 3.3. Classification and Analysis of New Merchandise Proposals The set of design proposals collected has thus been reorganized by the faculty into Table1 (and a The set of design proposals collected has thus been reorganized by the faculty into Table 1 (and short selection of them is also described and documented more in depth in AppendixA), for an a short selection of them is also described and documented more in depth in Appendix A), for an original comparison taking into consideration elements related to the museum, the territory, the public, original comparison taking into consideration elements related to the museum, the territory, the the fields of uses and the design approaches. public, the fields of uses and the design approaches.

Figure 4. A moment of discussion on the results of the “In miniera!” activity, with project prototypes Figure 4. A moment of discussion on the results of the “In miniera!” activity, with project prototypes and graphical proposals. and graphical proposals.

Sustainability 2018, 10, 2122 14 of 23

Concerning the museum, the categories involved the two possible visit paths: (i) ScopriMiniera and (ii) ScopriAlpi. Of the total number of projects, 30 proposals were designed for the narration of the ScopriMiniera path, and 17 for the ScopriAlpi path. Even if this ratio apparently reveals a preference for ScopriMiniera path in terms of the topic of the visit, the corpus of proposals cannot be considered as divergent. In fact, a large number of references are rather in common between the two paths that belong to the same museum. Concerning the territory, the geographical “radius of action” of the cultural reference pointed out in the proposal was taken into consideration. The possible categories for territory are (i) the mine; (ii) the Germanasca valley and (iii) the entire Alpine chain. A significant number of projects, 25 proposals, involve the mine as the cultural reference territory. Specifically, they deal with three main topics: the mineral, its extraction process and the life of the miner-farmer. Another 9 projects explore the cultural references from the Germanasca valley, investigating the culture of the Waldensians that historically lived in the valley (a pre-Protestant Christian movement founded by Peter Waldo in Lyon in the 12th century. The Waldensian movement today is centered on Piedmont in Northern Italy, but small communities can also be found in other parts of Italy, Europe and America), and the local flora. Finally, 14 projects involved the entire Alpine chain from the geological point of view, deepening the Alps formation process and its minerals. Concerning the public, it was analysed as (i) children and students (ages 3 to 14); (ii) parents and adults (in particular on weekends and holidays); and (iii) mineralogy or mountain lovers, as these categories are coherent with the museum’s target visitors. In this case, since one project can be addressed also to more than one target, it is not possible to subdivide the proposals on just these three categories. Therefore, 12 proposals were addressed specifically to children and students—probably given the dominant target age group of the ecomuseum, represented by the groups of school students, and given the purpose of the ecomuseum itineraries itself—2 to mineralogy and mountain lovers, 17 to children and students but also to parents and adults, 4 to children and students but also to mineralogy and mountain lovers, 2 to parents and adults but also to mineralogy and mountain lovers, and finally 10 to every possible target. Concerning the fields of use, the categories of (i) mineral packaging; (ii) consumer goods; (iii) stationery products; (iv) educational games; and (v) publications were considered. The most researched product type was consumer goods, with 14 design proposals; the areas of use were selected among different possible actions (e.g., bringing a packed lunch to the university environment/workplace, removing stains from clothes, lighting an area of the house, personal care); the second most investigated product type was educational games, with 12 design proposals, following a playful/educational will to transfer knowledge to the visitor through gameplay (for a state-of-the-art of serious games in the humanities and heritage field, as well as of the educational objectives of games in this domain see [46]); the third most investigated product type in terms of project amount was stationery products, with 8 design proposals, typically present within the museum bookshop, and represented by some of the archetypes of merchandise items (postcards, little notebooks, note pads, etc.); then 9 design proposals were for mineral packaging, developed to satisfy the geology lovers and those curious about the rock and mineral world who often visit the ecomuseum; and finally 4 design proposals for publications were designed to narrate the topics of the ecomuseum itineraries to a transversal public, from youngest (pre-school) to oldest (adult). These categories were further deepened with sub-categories, which can be investigated in Table1. Finally, concerning the design approach, the categories of (i) “reference to distinguishing features or details of the artefacts within different products” and (ii) “hint to the artefact” were considered, following Ugo La Pietra recurring design approaches [41] (c.f. Section 2.3.2). In this case, a significant number of projects, 32 proposals, adopted the “reference to details” design approach; instead, just 15 proposals opted for the “hint to the artefact” approach, commonly considered as a more intellectual and complex design approach. Sustainability 2018, 10, x FOR PEER REVIEW 15 of 23

Table 1. The set of design proposals collected and reorganized into a table for a comparison on the topics of the museum, the territory reference, the public, the fields of use and the design approach.

Territory Design Museum Public Fields of Use Sustainability 2018, 10, 2122 Reference Approach 15 of 23

Projects students Table 1. The set of design proposals collected and reorganized into a table for a comparison on the

details adults games and

artefact products

lovers goods

to

topics of the museum, the territory reference, the public, the fieldsand of use and the design approach.

packaging and

chain

the

to

Territory Design ScopriMiniera ScopriAlpi mine valley Alpine children parents mineralogy mountain mineral consumer stationery educational publications reference Museum Public Fields of Use hint Reference Approach pop‐up mine postcard X X X X ↂ X mine lettering guide * X X X ↁ X miner’s cape coat X X X X ◆ X talc notebook X X X ↁ X rocks wrappingProjects paper * X X X X X ◍ X cart‐shaped paper toy X X X ● X mine stratification‐inspired displayer X Xvalley X ▼ X ScopriAlpi Publications

Sustainability 2018, 10, x FOR PEER REVIEWAlpine Chain ▼ 16 of 23 chemical‐inspired displayer ScopriMiniera X X X X X Mineralogy and Mountain Lovers Consumer Goods hint to the artefact Mineral Packaging Parents and Adults

◇ Educational Games miners’ recipe book X X X X Stationery Products X Sustainability 2018, 10, x FOR PEER REVIEW Reference to Details 16 of 23 gallery‐inspired displayer Notes: [mineralX packaging: ▲X collect;Children and Students X ▼ exhibit;X ▲► gift]; [consumerX goods : ◆ personal goods; ◇ pop-up minemine’s postcard professionals cube‐toy householdX Xgoods]; X Notes: [stationeryX [mineral productsXX Xpackaging X: ↁ school: ▲ collect;or ● work; ▼ ↂ exhibit; gift]; [educational ►X gift];X [consumer games: ○ goods traditional;: ◆ personal goods; ◇ talc minimal book X X X X X ᚕ X ● popular; ◍ scientific];household [publications goods]; [stationery: ᚕ narrate].Sustainability products * The: 2018ↁ projectsschool, 10, x FORor marked work; PEER ↂ REVIEWwith gift]; an[educational asterisk are games : ○ traditional; 16 of 23 mine letteringminerals guide palette * X XX X X X X X X described in depth in Appendix◍ A. ᚕ miner’s capetalc coatpendant * X X X ● popular;X XX scientific];X X [publications ◆ : narrate]. * XTheX projects marked with an asterisk are Notes: [mineral packaging: ▲ collect; ▼ exhibit; ► gift]; [consumer goods: ◆ personal goods; ◇ Waldensian place mat X describedX in depthX inX Appendix A. ◇ X talc notebook X X X X ↁ ↂ Val Germanasca flower scent talcumIn powder the next X section, we Xwill discussX Xthe results householdof◆ the above goods]; projects,X [stationery and will products demonstrate: school how or work; gift]; [educational games: ○ traditional; rocks wrappinggallery paper‐inspired * tunnel game the design operationXX Inis Xthefundamental Xnext XXXsection,X ● for wecreating will discuss evolved● popular; the and results ◍top scientific];‐X qualityof the above merchandise[publicationsX projects,: for ᚕand narrate]. cultural will demonstrate * The projects how marked with an asterisk are cart-shapedchemical paper‐ toyinspired stamp heritage, Xas well theasX Xthe design successive operation XX andX isrelated fundamental positivedescribed for outcome creating in depth of evolvedtheX in visit AppendixX and culturaltop A. ‐quality experience. merchandise for cultural stone game‐box * X X X X ○ X stratification-inspired displayer X heritage,X as well as the successiveX H and related positive outcomeX of the visit and cultural experience. candy‐inspired objects realized4. with Discussion talc * andX ConclusionsX X X X ►In the next section, weX will discuss the results of the above projects, and will demonstrate how ↂ chemical-inspiredstratification displayer‐inspired postcard XX X X XXX theH design operation X is fundamentalX for creating evolved and top‐quality merchandise for cultural origami mineral displayer 4. DiscussionX andX ConclusionsX ▼ X miners’ recipe book The X“In miniera!” projectX Sustainability will contribute 2018XX, 10, x FOR to increasePEER REVIEW the genius loci ofX the Germanasca valley and 16 of 23 heritage, asↁ well as the successive and related positive outcome of the visit and cultural experience. detonation‐inspired paperweightalso to increaseX the valueTheX and “In theminiera!” diversificationX projectX X will of products contribute offered to increase to visitors.X the genius In the loci modern of the context, Germanasca valley and gallery-inspired displayer X X XX 3 ↂ X pop‐up mine postcard (secondgenius proposal) loci becameX a typicalX expressionNotes: X[mineral adopted packaging Nin architecture: ▲ collect; for ▼ X exhibit;identifying ► gift]; a phenomenological [consumer goods: ◆ personal goods; ◇ stain remover powdered talc for clothes * X also to increaseX the valueX X and the4. Discussiondiversification ◇ and of Conclusions productsX offered to visitors. In the modern context, mine’s professionals cube-toy X X householdXX goods]; [stationery products: ↁ schoolX or work; ↂ gift]; [educational games: ○ traditional; tectonic‐inspired heat‐resistantapproach mat to the placegeniusX making: loci became theX interaction a typicalX expression Xbetween ◇ the adopted place and inX architecture its identity. Withfor identifying the expression a phenomenological ◍ The “In miniera!”ᚕ project will contribute to increase the genius loci of the Germanasca valley and talc minimalflower book‐inspired talc displayer genius lociX, peopleX approachX referX to to the the● popular; complex XXXplaceX making: X socio scientific];X ‐thecultural,► interaction [publications architectonic, between: narrate]. thelinguisticX place X* Theandcharacteristics itsprojects identity. marked andWith with the expressionan asterisk are described in depth alsoin Appendix to increase A. the value and the diversification of products offered to visitors. In the modern context, minerals paletterock inspired tactile book * habits that areX typicalgeniusX ofXloci a, place,people XXX an referX environment, to theX complex a town. socio This‐ᚕcultural, is a crossX X architectonic,‐term, which linguisticincorporates characteristics and checkerboard for talc and slateboth draughts the characteristicsX habits thatofX the are place Xtypical andX ofthose a place, ofgenius the an community locienvironment, became○ living a X typicala town.in that expression This place. is Furthermore,a cross adopted‐term, in thewhich architecture incorporates for identifying a phenomenological talc pendant * X X XX ○ X Val Germanasca‐inspired playproject cards will increaseX the localX economyIn the Xnext (generated,X section, approach we first, will byto discuss thethe placeselling theX making:results of merchandise of the the interaction above products projects, between [47], and the will place demonstrate and its identity. how With the expression both the characteristics of the place and thoseↁ of the community living in that place. Furthermore, the Waldensianstratification place mat‐inspired post‐it block X X XX the design XX operationX isgenius fundamental loci, people for creatingreferX toX theevolved complex and topsocio‐quality‐cultural, merchandise architectonic, for culturallinguistic characteristics and rock‐inspired blanket‐game but also coming projectfromX the will productive increaseX X theactivities Xlocal economy carried out (generated, by○ local artisans), first,X by theas wellselling as theof merchandise improved products [47], Val Germanasca flower scent talcum powder X X heritage,XX as well as thehabits successive 3that are and typical related of positive aX place, outcome an environment, of the visit a andtown. cultural This is experience. a cross‐term, which incorporates 3D‐printed talc pendant cultural consciousnessX but also ofX coming the visitors fromX in the relationX productiveX to what ◆activities they see carried throughoutX out by their local tour. artisans), The itemsas well of as the improved gallery-inspired“Three tunnelStripe Stone” game paperweightmerchandise X have,culturalX Xin fact, consciousness been X designedX X ofX theand visitors willboth soon the ◇in characteristics relationbe manufactured to what ofX Xthethey with place see the throughoutand purpose those of their beingthe communitytour. The items living of in that place. Furthermore, the 4. Discussion and Conclusions◇ chemical-inspiredminer‐inspired stamp silhouette for courtesystory‐like,‐light narratingXX merchandise theirX originsX have, X and inX capitalizing fact,X beenproject designed on their will andconveyableincrease will Xthesoon cultural local Xbe manufactured economy content. (generated, with the first, purpose by the of selling being of merchandise products [47], stencil book X X X X ● X The languagesstory used,‐like, and narratingThe the “Inpossibility their miniera!” origins tobut modulateproject and also capitalizing willcoming them contribute fromas “figurative”on the their to productiveincrease conveyable or “metaphoric”the activities genius cultural loci carried content. of[41], the out Germanasca by local artisans), valley and as well as the improved stone game-boxminer life * flipbook XX XX XXX X ᚕ X X enable products to be suitablealso to for increase different the Ecomuseum valuecultural and the consciousness publics diversification and to of address theof products visitors the various inoffered relation aspects to visitors.to what of Inthey the see modern throughout context, their tour. The items of candy-inspiredVal Germanasca objects realized essences with bath talc bomb * X X TheX languagesX XXX Xused, X and the possibility ◆ to# modulateX themX as “figurative” or “metaphoric” [41], merchandiseI have, in fact, been designed and will soon be manufactured with the purpose of being gallery‐inspired book with holesthe visit, throughX enable useful productsX geniusobjects, loci toobjects bebecameX suitable of use, a typical for which different expression are able Ecomuseum toᚕ adopted prolongX publics inthe architecture experience and to address forof theidentifying the visit various a phenomenologicalaspects of stratification-inspired postcard X X X X minerals zoom box * in other spaces. theX visit, approach throughX usefultoX the X placeobjects, X storymaking: objects▲ ‐like, the of narrating interactionuse, which their betweenareX origins able tothe and prolong place capitalizing and the its experience identity. on their Withconveyable of the the visit expression cultural content. origami mineral displayer X X X ◆ X miner‐inspired lunch‐box In fact, theX inmain other workstreamX spaces. genius loci , ofXpeople the concepts referH to The developedthe languages complex was socioused,X to extend‐ cultural,and the the possibilityarchitectonic, ecomuseum to modulate linguisticvisit them characteristics as “figurative” and or “metaphoric” [41], oil‐lamp inspired lampshade X X X X ◇ X detonation-inspired paperweight experienceX by transposingX In fact,habits “mine the that XXX mainactions” are workstream typical to dailyenable of alife. ofplace, products theThe anconcepts workstreams environment, to be suitabledeveloped of thea for Xtown. generated wasdifferent Thisto extend Ecomuseumis proposals a cross the ‐ecomuseumterm, publics which and visitincorporates to address the various aspects of rocks cube X X X X X ● X are perfectly in line with the purposes and usesthe of thevisit, most through evolved useful form objects, of museum objects merchandising. of use, which are able to prolong the experience of the visit pop-up mine10 origami postcard pack (second for rocks proposal) X experienceXX both by the transposingXX characteristicsX X “mineX of ▲actions” the place to and daily those life. of XThe Xthe workstreamscommunity living of the in generated that place. proposals Furthermore, the in other spaces. stain removerminers powdered register‐inspired talc for notebooks clothes * *The XmerchandiseX areX perfectly Xdesign project in projects line willXX withX increase X(a the pool purposes Xthe oflocal about economyandↁ 50)uses have of(generated, theX been mostX recently evolved first, by assessedformthe selling of museum by of the merchandise merchandising. products [47], chemical‐inspired lantern ecomuseum in termsX ofbut potential alsoX coming contributionX X from the to productive In the◇ fact, communication the activities main workstream Xcarried of cultural out of by thecontent local concepts artisans), in the developed as well as was the toimproved extend the ecomuseum visit tectonic-inspired heat-resistant mat X The merchandiseX XX design projects3 (a pool of aboutX 50) have been recently assessed by the origami paper‐tray for mineralsmuseum * package. TheX feasibility X of the first Xfew experience ideas▲ has by been transposing selected X “mineinvolving actions” semi ‐tohandicraft daily life. The workstreams of the generated proposals ecomuseumcultural in terms consciousness of potential of the contribution3 visitors in relation to the tocommunication what they see ofthroughout cultural contenttheir tour. in Thethe items of flower-inspired talc displayer X X XXX I X entities of the Germanascamuseummerchandise package. valley andThe have, thefeasibility provincein arefact, perfectlyof been theof Turin. firstdesigned in fewline The ideas withand museum will thehas purposes soonbeen and be selectedthe manufactured and Politecnico uses involving of the di with mostsemi the ‐evolvedhandicraft purpose form of beingof museum merchandising. rock inspired tactile book * Torino wouldX likeentities to favour ofstory theX a “zero‐ like,GermanascaXX narratingmile” approach valley their origins andThein terms themerchandise and province of capitalizing material, ofdesign knowTurin. on Xtheirprojects‐ how,The conveyable museumand (a technologypool and culturalof aboutthe Politecnico content. 50) have dibeen recently assessed by the ecomuseum in terms of potential contribution to the communication of cultural content in the checkerboard for talc and slate draughtssupply. TheX aim TorinoofXX the “Inwould miniera!”The likeX languages to projectfavour aused,is “zero also and to mile” promote the approachpossibility the territory in to terms Xmodulate (that of material, can them evolve as know “figurative” even‐how, at and or technology “metaphoric” [41], museum package. The feasibility of the first few ideas has been selected involving semi‐handicraft Val Germanasca-inspired play cards an economic Xlevel,supply. consideringX Theenable aim productsXX ofthe the craftsmen “In to miniera!”be suitable and project forother different ismanufacturers# also Ecomuseumto promoteX of the publicsthe territory merchandise). and (thatto address can evolve the various even at aspects of Moreover, the projectan economic canthe visit,spread level, through theconsidering growth usefulentities of objects,the companies ofcraftsmen theobjects Germanasca andof and use, artisans otherwhich valley manufacturers locatedare and able thein to aprovinceprolong specific of the the of merchandise).experienceTurin. The ofmuseum the visit and the Politecnico di stratification-inspired post-it block X X X # X geographical, territorialMoreover, andin otherthe cultural project spaces. context, can spread andTorino represents the would growth like the topremiseof favour companies fora “zero developing and mile” artisans approach yet newer located in terms in a of specific material, know‐how, and technology rock-inspired blanket-game X X XX X local activities, andgeographical, at the sameIn territorial time fact, is the a reference andmain culturalsupply. workstream point context, The for aimexternal of and theof the representsconcepts contexts, “In miniera!” developed nearthe premise or project far, was in for isterms to alsodeveloping extend ofto promote the yet ecomuseum thenewer territory visit (that can evolve even at # 3D-printed talc pendant duplicabilityX of itslocal Xapproach activities,experience and andXXX practices. atby the transposing same an time economic “mine is a reference actions” level, point toconsidering daily Xfor life.external Thethe workstreamscontexts,craftsmen near and of or the far,other generated in termsmanufacturers of proposals of the merchandise). “Three Stripe Stone” paperweight From theX methodologicalduplicabilityareX perfectly of pointitsXX approach inof lineview, with and Moreover,it thepractices.is worth purposes the highlighting projectand uses can ofthe thespread virtuous Xmost theevolved naturegrowth form of ofthe of companies museum merchandising. and artisans located in a specific geographical, territorial and cultural context, and represents the premise for developing yet newer miner-inspired silhouette for courtesy-lightcooperationX amongX differentFrom the Theentities methodologicalXX merchandise and cultural pointdesign systems3 of projects view, of it the(a is poolworthterritoryX of highlightingabout (the ecomuseum,50) have the virtuousbeen the recently nature assessed of the by the community, the design team at the Politecnicolocal di Torino, activities, the craftsmenand at the andsame the time small is a enterprises reference point of for external contexts, near or far, in terms of stencil book X cooperationX ecomuseum amongXX differentin terms entitiesof potential3 and culturalcontribution systemsX to theof thecommunication territory (the of ecomuseum, cultural content the in the the Germanasca community,valley) funnelledmuseum the design package.towards team mutualThe atduplicability thefeasibility promotion. Politecnico of of the its Furthermore,di firstapproach Torino, few theideas and the craftsmen practices. hasimplications been and selected the of thissmall involving enterprises semi ‐ofhandicraft miner life flipbook X X XX X kind of project rangethe Germanasca fromentities individual, ofvalley) the to Germanasca funnelledcommunity towardsFrom valleyto regional the mutualand methodological thelevels. promotion. province From theofpoint Furthermore, Turin.individual of view,The point museum theit isimplications of worth and highlighting the of Politecnico this the divirtuous nature of the Val Germanasca essences bath bomb view, projectsX comprisingkind ofX projectTorino both range wouldXX didactic from like individual,andto favourcooperation research a “zeroto communityaspects among mile” offer approachdifferent to regionalXthe studentsinentities terms levels. ‐ofanddesigners Frommaterial, cultural the theknowindividual systems ‐how, ofpoint and the technology of territory (the ecomuseum, the opportunity to investigateview, projectssupply. new realities,comprising The aim deepening of thebothcommunity, “In didactic topicsminiera!” such theand project designas research material is team also aspects culture, atto thepromote Politecnico offerlocal thecommunitythe territorystudents di Torino, (that‐designers the can craftsmen evolve the even and atthe small enterprises of habits, and territoryopportunity peculiarities,an economicto investigate with level, the new challenge consideringthe realities, Germanasca of deepeningsynthesizing the valley)craftsmen topics funnelledthose suchand complex asother towards material conceptsmanufacturers mutual culture, into promotion. local of community the Furthermore,merchandise). the implications of this simple but understandablehabits, andMoreover, products,territory the peculiarities,able project to “communicate”kind can withof spread project the challenge the rangeto all.growth fromFor of the individual,synthesizingof localcompanies community, to thosecommunity and complex artisansthese to regionalconceptslocated levels. ininto a specific From the individual point of projects representsimple the opportunitybutgeographical, understandable to territorialnarrate products, view,and and in projects cultural ablesome to cases “communicate”comprisingcontext, rediscover and bothrepresents toits didactic all.own For theidentity the andpremise local research and community, for developing aspects these offer yet newerthe students ‐designers the culture. This actionprojects is necessary localrepresent activities, to keepthe opportunity andalive at the opportunitythe memory same to narrate time ofto isainvestigate community.aand reference in some new point From cases realities, for the rediscover external regional deepening contexts, pointits topicsown near identity such or asfar, andmaterial in terms culture, of local community of view, public culture.administration Thisduplicability action can isplay ofnecessary its the approach habits,role to keepof andandencouraging alive practices.territory the memory peculiarities,and sponsoring of a community. with these the challengekinds From ofthe of regional synthesizing point those complex concepts into of view, publicFrom administration the methodologicalsimple can playbut point understandablethe ofrole view, of encouraging it products,is worth highlightingandable sponsoringto “communicate” the thesevirtuous kinds to natureall. of For ofthe the local community, these cooperation among differentprojects represententities and the cultural opportunity systems to narrateof the territoryand in some (the casesecomuseum, rediscover the its own identity and community, the designculture. team at This the actionPolitecnico is necessary di Torino, to keep the craftsmen alive the memoryand the smallof a community. enterprises Fromof the regional point the Germanasca valley)of funnelledview, public towards administration mutual promotion. can play Furthermore, the role of encouragingthe implications and of sponsoring this these kinds of kind of project range from individual, to community to regional levels. From the individual point of view, projects comprising both didactic and research aspects offer the students‐designers the opportunity to investigate new realities, deepening topics such as material culture, local community habits, and territory peculiarities, with the challenge of synthesizing those complex concepts into simple but understandable products, able to “communicate” to all. For the local community, these projects represent the opportunity to narrate and in some cases rediscover its own identity and culture. This action is necessary to keep alive the memory of a community. From the regional point of view, public administration can play the role of encouraging and sponsoring these kinds of Sustainability 2018, 10, x FOR PEER REVIEW 15 of 23

Table 1. The set of design proposals collected and reorganized into a table for a comparison on the topics of the museum, the territory reference, the public, the fields of use and the design approach.

Territory Design Museum Public Fields of Use Reference Approach Sustainability 2018, 10, 2122 16 of 23

Projects students

details adults games and

artefact products

lovers goods

to

Table 1. Cont. and

packaging and

chain

the

to

Territory Design Museum Public Fields of Use ScopriMiniera ScopriAlpi mine valley Alpine children parents mineralogy mountain mineral consumer stationery educational publications reference Reference Approachhint pop‐up mine postcard X X X X ↂ X mine lettering guide * X X X ↁ X miner’s cape coat X X X X ◆ X talc notebook X X X ↁ X rocks wrappingProjects paper * X X X X X ◍ X cart‐shaped paper toy X X X ● X mine valley Sustainability 2018, 10, x FOR PEER REVIEW 16 of 23 stratification‐inspired displayer X X X ▼ X ScopriAlpi Publications Alpine Chain chemical‐inspired displayer ScopriMiniera X X X X ▼ X Mineralogy and Mountain Lovers Consumer Goods hint to the artefact

Mineral Packaging ▼ ◆ ◇ Parents and Adults ▲

Educational Games ►

Notes: [mineral packaging: collect;Stationery Products exhibit; gift]; [consumer goods: personal goods; miners’ recipe book X X X X ◇ X Reference to Details gallery‐inspired displayer X householdX Children and Students X goods];X [stationery▲ products: ↁX school or work; ↂ gift]; [educational games: ○ traditional; gallery-inspiredmine’s bookprofessionals with holes cube‐toy X X X X ● popular; X X X◍ scientific]; ● [publications: Xᚕ narrate].X * The projects marked with an asterisk are talc minimal book X X described X inX depth X in Appendix A. ᚕ X minerals zoomminerals box palette * X X X X XXXX X N X X ◆ miner-inspiredtalc pendant lunch-box * X X X X In Xthe Xnext X section, we will discuss the resultsXX of the above projects, and will demonstrate how Waldensian place mat X X X X ◇ X oil-lamp inspired lampshade X X XX X Val Germanasca flower scent talcum powder X theX design operationX X is fundamental ◆ for creatingX evolved and top‐quality merchandise for cultural Sustainability 2018, 10, x FOR PEER REVIEW 3 16 of 23 rocks cubegallery‐inspired tunnel game XX X heritage,X XXX asX well ● as the successive and relatedX positiveX outcome of the visit and cultural experience. chemical‐inspired stamp X X X X 10 origami pack for rocks X Notes: X[mineralXXX packaging: ▲N collect; ▼ exhibit; ► gift]; [consumerX goods: ◆ personal goods; ◇ stone game‐box * X 4. DiscussionX X andX Conclusions ○ X household goods]; [stationery products: ↁ school or work; ↂ gift]; [educational games: ○ traditional; miners register-inspiredcandy‐inspired objects notebooks realized * with talc *X X X X XXXX X XSustainability ► 2018, 10, x FORXX PEER REVIEW 16 of 23 ◍ ᚕ Sustainability 2018, 10, x FORchemical-inspired PEER REVIEWstratification lantern ‐inspired postcard XX ● popular;X X The XX “Inscientific];X miniera!” [publications project16 willofↂ: 23 contribute narrate].X *to The increase projectsX the marked genius lociwith of anthe asterisk Germanasca are valley and origami mineral displayer X describedalso to in Xincrease depth X in the Appendix value and ▼A. 3 the diversificationX of products offered to▼ visitors. In the modern context, ◆ ◇ origami paper-tray for minerals * X X X N Notes: [mineral packagingX : ▲ collect; exhibit; ► gift]; [consumer goods: personal goods; detonation‐inspired paperweight X X genius loci becameX X a Xtypical expressionↁ adopted X in architecture for identifying a phenomenological Notes: [mineral packagingNotes: [:mineral ▲ collect; packaging ▼ exhibit;: collect; ► gift];exhibit; [consumergift]; goods [consumer: ◆ goodspersonal: personal goods; goods;household◇ ↂ household goods]; goods]; [stationery products: ↁ school or work; ↂ gift]; [educational games: ○ traditional; pop‐up mine postcard (secondN proposal)H XI In Xthe approach next section, toX the weplace will making: discuss the the interaction resultsX of betweenthe above the projects, place and and its will identity. demonstrate With the how expression household goods]; [stationery[stationerystain products remover products powdered:: ↁ schoolschool talc for or clothes work; * ↂ gift];gift];X [ educationalX games gamesX : : X○ traditional; traditional; ● ◇popular; popular; 3 ◍ Xscientific]; scientific]; [publications: ᚕ narrate]. * The projects marked with an asterisk are the designgenius operation loci, people is fundamental refer to the for complexcreating socioevolved‐cultural, and top architectonic,‐quality merchandise linguistic forcharacteristics cultural and tectonic‐inspired heat‐resistant mat X X X X ◇ X ● popular; ◍ scientific];[publications [publications: narrate].: ᚕ *narrate]. The projects * The marked projects withheritage, an marked asterisk as well arewith as described the an #successive asterisk in depth andaredescribed in related Appendix positivein Adepth. outcome in Appendix of the visitA. and cultural experience. flower‐inspired talc displayer X X habits that Xare typicalX X of ►a place, an environment,X a town. This is a cross‐term, which incorporates described in depth in Appendixrock inspired A. tactile book * X both theX characteristicsX X of the place andᚕ those ofX the community living in that place. Furthermore, the checkerboard for talc and slate draughts X 4. DiscussionX project andX will ConclusionsX increase the localIn economythe next○ (generated, section,X we first, will by thediscuss selling the of merchandise results of the products above [47], projects, and will demonstrate how In the next section, we will discuss the results of the above projects, and will○ demonstrate how In the next section, we willVal Germanasca discuss ‐theinspired results play cards of the above projects,X Thebut “InX and alsominiera!” comingwillX demonstrateprojectX from the willthe productivedesign contribute how operation toactivities increaseX carriedis the fundamental genius out byloci local of the for artisans), Germanasca creating as well evolved valley as the and improvedand top ‐quality merchandise for cultural the designstratification operation‐inspired is fundamental post‐it block for creatingX evolvedX andX top-quality merchandiseↁ X for cultural also to increasecultural the consciousness value and the of diversification the visitors in of relation products to whatoffered they to visitors.see throughout In the modern their tour. context, The items of the design operationheritage, is fundamental asrock well‐inspired as for theblanket creating successive‐game evolved and related and top positiveX‐ quality outcome merchandiseX X ofX the heritage,for visit cultural and as cultural ○ well as experience. theX successive and related positive outcome of the visit and cultural experience. heritage, as well as the successive3D‐printed and talc related pendant positive outcomeX geniusof the lociX visit merchandise became and aculturalX typical have,X inexpression Xexperience. fact, been◆ adopted designed in andX architecture will soon forbe manufacturedidentifying a phenomenological with the purpose of being “Three Stripe Stone” paperweight X story ‐like,X narratingX X their origins ◇ and capitalizing X on their conveyable cultural content. approach to the place making:4. the Discussion interaction between and Conclusions the place and its identity. With the expression 4. Discussionminer‐ andinspired Conclusions silhouette for courtesy‐light X genius lociX , peopleThe languages referX X to theused, complex and ◇ the socio possibility‐cultural,X to modulatearchitectonic, them linguistic as “figurative” characteristics or “metaphoric” and [41], 4. Discussion and Conclusionsstencil book X habits thatX enable are typicalproducts X ofX to a place,be suitable an ● environment, for differentX Ecomuseuma town. This publicsis a cross and‐term, to address which theincorporates various aspects of The “Inminer miniera!” life flipbook project will contributeX to increaseX the geniusX X loci ofthe The Germanasca “In miniera!”ᚕ X valley project and will contribute to increase the genius loci of the Germanasca valley and both the thecharacteristics visit, through of the useful place objects, and those objects of the of use,community which are living able in to that prolong place. theFurthermore, experience the of the visit The “In miniera!”also project to increaseVal will Germanasca thecontribute value essences and to bath increase the bomb diversification the geniusX of loci products of Xthe Germanasca offeredX X toalso visitors. valley to◆ increase and In the moderntheX value context, and the diversification of products offered to visitors. In the modern context, project willin other increase spaces. the local economy (generated, first, by the selling of merchandise products [47], also to increase the value and gallerythe diversification‐inspired book with holesof products offeredX to Xvisitors. InX the moderngenius context, loci became ᚕ X a typical expression adopted in architecture for identifying a phenomenological genius locimineralsbecame zoom a box typical * expression adoptedbutX also in architecturecomingX In fact,fromX the the forX mainproductive identifyingX workstream▲ activities a phenomenologicalof carriedthe concepts outX by developed local artisans), was asto wellextend as thethe improved ecomuseum visit genius loci became approacha typical expression tominer the‐inspired place lunchadopted making:‐box in the architecture interactionX cultural for between identifyingX consciousnessexperience the place aXby phenomenological transposingof and the itsvisitorsapproach identity. “mine ◆in relation to actions” With the to place the Xwhatto daily expression making: they life. see The throughout the workstreams interaction their oftour. betweenthe Thegenerated items the of proposalsplace and its identity. With the expression ◇ approach to the place making:oil the‐lamp interaction inspired lampshade between the placeX merchandise and itsX are identity. perfectly have, in XWith in fact, Xline thebeen withgenius expression designed the purposesloci ,and people willand Xusessoon refer ofbe the manufacturedto mostthe evolvedcomplex with form sociothe of purpose museum‐cultural, of merchandising. being architectonic, linguistic characteristics and genius loci,rocks people cube refer to the complex socio-cultural,X architectonic, X X X linguisticX ● characteristicsX and habits story‐like, narratingThe merchandise their origins design and capitalizing projects (a on pool their of conveyable about 50) culturalhave been content. recently assessed by the genius loci, people thatrefer are to typicalthe10 origami complex of pack a place, for socio rocks an‐cultural, environment, architectonic, a town.X linguistic This X isX a characteristics cross-term,X Xhabits ▲ which that and are incorporates typical X of a both place, an environment, a town. This is a cross‐term, which incorporates Theecomuseum languages used, in terms and the of possibilitypotential contributionto modulate themto the as communication “figurative” or “metaphoric”of cultural content [41], in the habits that are typicalthe of characteristics a place,miners anregister environment, of‐inspired the place notebooks anda *town. those This ofX theis a community crossX ‐term, X livingwhich X inXincorporatesboth that the place. characteristicsↁ Furthermore,X of the the place and those of the community living in that place. Furthermore, the chemical‐inspired lantern enableX productsmuseum X to package. beX suitableX The for feasibility different ◇ ofEcomuseum the first fewX publics ideas andhas tobeen address selected the variousinvolving aspects semi‐ ofhandicraft both the characteristics of the place and those of the community living in that place. Furthermore,project will the increase the local economy (generated, first, by the selling of merchandise products [47], project willorigami increase paper‐tray the for local minerals economy * (generated,theX visit, first,entities through byX of useful the the selling Germanasca objects,X of objects▲ merchandise valley of use,and whichthe products province areX able [of 47to Turin. ],prolong The the museum experience and of the the Politecnico visit di project will increasebut the also local coming economy from (generated, the productive first, activitiesby the sellingin other carried ofspaces.Torino merchandise out would by local like artisans), toproducts favourbut also a as“zero[47], coming well mile” as from theapproach improved the productivein terms of material, activities know carried‐how, and out technology by local artisans), as well as the improved but also coming fromcultural the productive consciousness activities of the carried visitors out in by relation local artisans), toIn whatfact,supply. the they as Themain well see aim workstream as throughout of thethecultural “Inimproved miniera!”of the theirconsciousness concepts tour.project Thedeveloped is also itemsof theto promotewas ofvisitors to extend the in territory relation the ecomuseum (that to whatcan evolve visit they even see atthroughout their tour. The items of cultural consciousnessmerchandise of the visitors have, in in relation fact, been to what designed they andseeexperience throughout will soonan byeconomic betransposing their manufactured tour.level, “mine Themerchandiseconsidering actions”items with of the tothe dailyhave, purpose craftsmen life. in Thefact, of and workstreams being been other designed manufacturers of the andgenerated will of thesoonproposals merchandise). be manufactured with the purpose of being are perfectlyMoreover, in line withthe projectthe purposes can spread and uses the of growththe most of evolved companies form ofand museum artisans merchandising. located in a specific merchandise have, story-like,in fact, been narrating designed their and origins will soon and be capitalizing manufactured on their with conveyable the purposestory cultural of‐ like,being content. narrating their origins and capitalizing on their conveyable cultural content. Thegeographical, merchandise territorialdesign projects and cultural (a pool context, of about and 50)represents have been the premiserecently forassessed developing by the yet newer story‐like, narrating their origins and capitalizing on their conveyable cultural content. The languages used, and the possibility to modulate them as “figurative” or “metaphoric” [41], The languages used, and the possibilityecomuseum to modulatelocal in activities, themterms of as and potential “figurative” at the same contribution time or “metaphoric” is a referenceto the communication point [41 for], external of culturalcontexts, content near or far,in the in terms of The languagesenable used, and products the possibility to be suitable to modulate for different them Ecomuseum museumas “figurative”duplicability package. publics orThe “metaphoric”of and feasibility its approach toenable address of theand products[41], first the practices. variousfew toideas be aspects suitablehas been of selectedfor different involving Ecomuseum semi‐handicraft publics and to address the various aspects of enable products to thebe suitable visit, through for different useful Ecomuseum objects, objects publics of use, entitiesand which to ofaddress aretheFrom ableGermanasca the the to various prolongmethodological valleythe aspects the visit, and experience the pointthrough of province of view, ofuseful of the itTurin. visitis objects, worth The in museum highlightingobjects andof use, thethe virtuous Politecnicowhich arenature di able of tothe prolong the experience of the visit the visit, through usefulother spaces.objects, objects of use, which are able toTorino prolong wouldcooperation the like experience to favouramong a differentin“zero of other the mile” visit entitiesspaces. approach and incultural terms ofsystems material, of knowthe territory‐how, and (the technology ecomuseum, the community, the design team at the Politecnico di Torino, the craftsmen and the small enterprises of in other spaces. In fact, the main workstream of the conceptssupply. The developed aim of the was“In miniera!” to extendIn project fact, the isthe ecomuseum also main to promote workstream visit the territory of the (that concepts can evolve developed even at was to extend the ecomuseum visit the Germanasca valley) funnelled towards mutual promotion. Furthermore, the implications of this In fact, the main workstream of the concepts developed anwas economic to extend level, the considering ecomuseumexperience the visitcraftsmen by transposing and other “minemanufacturers actions” of tothe daily merchandise). life. The workstreams of the generated proposals experience by transposing “mine actions” toMoreover, daily life.kind the The of projectproject workstreams rangecan spread from of individual, the the growth generated to ofcommunity companies proposals to regionaland artisans levels. located From thein individuala specific point of experience by transposing “mine actions” to daily life. The workstreams of the generated proposals are perfectly in line with the purposes and usesgeographical, of theview, most territorialprojects evolved comprisingand form culturalare perfectly of both museumcontext, didactic in and line merchandising. representsand with research the the purposes premiseaspects forofferand developing usesthe students of the yet most‐newerdesigners evolved the form of museum merchandising. are perfectly in line withThe the purposes merchandise and uses design of the projects most evolved (a poollocal formactivities, ofopportunity about of museum and 50) at to havethe investigate merchandising.same been time newThe recently is a realities,referencemerchandise assessed deepening point for design by externaltopics the suchprojects contexts, as material (anear pool or culture, far, of in aboutlocalterms community of 50) have been recently assessed by the The merchandiseecomuseum design inprojects terms of(a potentialpool of contributionabout 50) haveduplicability to the been communicationhabits, ofrecently itsand approach territory assessed of and ecomuseumpeculiarities, cultural practices. by contentthe with in termsthe in the challenge museumof potential of synthesizing contribution those complex to the concepts communication into of cultural content in the simple but understandable products, able to “communicate” to all. For the local community, these ecomuseum in termspackage. of potential The feasibility contribution of the to first the few communication ideas hasFrom been theof selected methodologicalcultural involving contentmuseum point semi-handicraft in of thepackage.view, it is Theworth entities feasibility highlighting of of thethe virtuous first few nature ideas of has the been selected involving semi‐handicraft museum package. The feasibility of the first few ideas has beencooperation selectedprojects involvingamong represent different semi the entitiesentities‐ handicraftopportunity andof the cultural to Germanascanarrate systems and in of valleysome the territorycases and rediscover the (the province ecomuseum, its own of identityTurin.the andThe museum and the Politecnico di community,culture. the designThis action team is at necessary the Politecnico to keep di alive Torino, the thememory craftsmen of a community.and the small From enterprises the regional of point entities of the Germanasca valley and the province of Turin. The museum and the PolitecnicoTorino would di like to favour a “zero mile” approach in terms of material, know‐how, and technology the Germanascaof view, valley) public funnelled administration towards can mutual play thepromotion. role of Furthermore,encouraging andthe implicationssponsoring theseof this kinds of Torino would like to favour a “zero mile” approach in terms of material,kind of project know range‐how, from and individual,supply. technology to The community aim of theto regional “In miniera!” levels. From project the individual is also to point promote of the territory (that can evolve even at supply. The aim of the “In miniera!” project is also to promote view,the territory projects (thatcomprising can evolve bothan didacticeconomic even at and level, research considering aspects offer the the craftsmenstudents‐designers and other the manufacturers of the merchandise). an economic level, considering the craftsmen and other manufacturersopportunity to investigate of the newmerchandise).Moreover, realities, deepening the project topics cansuch asspread material the culture, growth local communityof companies and artisans located in a specific Moreover, the project can spread the growth of companieshabits, and andartisans territory located peculiarities, ingeographical, a specificwith the challenge territorial of synthesizing and cultural those context, complex and concepts represents into the premise for developing yet newer simple but understandable products, able to “communicate” to all. For the local community, these geographical, territorial and cultural context, and represents the premise for developinglocal yet activities,newer and at the same time is a reference point for external contexts, near or far, in terms of projects represent the opportunity to narrate and in some cases rediscover its own identity and local activities, and at the same time is a reference point for externalculture. contexts, This action near is necessary or far,duplicability in to terms keep alive of ofthe its memory approach of a community.and practices. From the regional point duplicability of its approach and practices. of view, public administration canFrom play thethe rolemethodological of encouraging pointand sponsoring of view, theseit is kindsworth of highlighting the virtuous nature of the From the methodological point of view, it is worth highlighting the virtuous naturecooperation of the among different entities and cultural systems of the territory (the ecomuseum, the cooperation among different entities and cultural systems of the territory (the ecomuseum,community, the the design team at the Politecnico di Torino, the craftsmen and the small enterprises of community, the design team at the Politecnico di Torino, the craftsmen and the small enterprisesthe Germanasca of valley) funnelled towards mutual promotion. Furthermore, the implications of this the Germanasca valley) funnelled towards mutual promotion. Furthermore, the implicationskind ofof projectthis range from individual, to community to regional levels. From the individual point of kind of project range from individual, to community to regional levels. From the individualview, point projects of comprising both didactic and research aspects offer the students‐designers the view, projects comprising both didactic and research aspects offer the students‐designersopportunity the to investigate new realities, deepening topics such as material culture, local community opportunity to investigate new realities, deepening topics such as material culture, local habits,community and territory peculiarities, with the challenge of synthesizing those complex concepts into habits, and territory peculiarities, with the challenge of synthesizing those complex conceptssimple butinto understandable products, able to “communicate” to all. For the local community, these simple but understandable products, able to “communicate” to all. For the local community,projects these represent the opportunity to narrate and in some cases rediscover its own identity and projects represent the opportunity to narrate and in some cases rediscover its own identityculture. andThis action is necessary to keep alive the memory of a community. From the regional point culture. This action is necessary to keep alive the memory of a community. From the regionalof view, point public administration can play the role of encouraging and sponsoring these kinds of of view, public administration can play the role of encouraging and sponsoring these kinds of Sustainability 2018, 10, 2122 17 of 23 the Germanasca valley and the province of Turin. The museum and the Politecnico di Torino would like to favour a “zero mile” approach in terms of material, know-how, and technology supply. The aim of the “In miniera!” project is also to promote the territory (that can evolve even at an economic level, considering the craftsmen and other manufacturers of the merchandise). Moreover, the project can spread the growth of companies and artisans located in a specific geographical, territorial and cultural context, and represents the premise for developing yet newer local activities, and at the same time is a reference point for external contexts, near or far, in terms of duplicability of its approach and practices. From the methodological point of view, it is worth highlighting the virtuous nature of the cooperation among different entities and cultural systems of the territory (the ecomuseum, the community, the design team at the Politecnico di Torino, the craftsmen and the small enterprises of the Germanasca valley) funnelled towards mutual promotion. Furthermore, the implications of this kind of project range from individual, to community to regional levels. From the individual point of view, projects comprising both didactic and research aspects offer the students-designers the opportunity to investigate new realities, deepening topics such as material culture, local community habits, and territory peculiarities, with the challenge of synthesizing those complex concepts into simple but understandable products, able to “communicate” to all. For the local community, these projects represent the opportunity to narrate and in some cases rediscover its own identity and culture. This action is necessary to keep alive the memory of a community. From the regional point of view, public administration can play the role of encouraging and sponsoring these kinds of activities and boosting the relationship with the territory, in order to improve the development and promotion of the territory itself. Moreover, the activities presented, focused within a local context, the Germanasca valley, can represent a best practice to be replicated in other regions or for other local communities in the same region, Piedmont. With reference to the product’s commercialization, an important moment will be the definition of an agreement between the parts (Politecnico di Torino and Ecomuseum), in order to protect the intellectual property of students who developed the selected merchandising projects, and to allow their commercial exploitation by the Ecomuseum. This agreement, signed by students and the Ecomuseum, will be mediated by Politecnico di Torino and will regulate the project transfer through a lump sum payment to students (that will not imply the transfer of intellectual property, which will remain a prerogative of the student-designer). From the students’ perspective, as students are the real protagonists of this operation, this is an important step in increasing awareness of the importance of the design role for local cultural heritage organizations; they become design clients (in this case the Ecomuseum) of local design students. For these students, it is the first time that they can see and touch the results of their efforts, and also to be rewarded for them. It is a winning formula that we have already tested in other research and didactics operations that had as a result the creation of saleable products (i.e., the Materialmente merchandising collection). Therefore, upon analysis of the operation from a critical perspective, the following short-term, mid-term and longer-term considerations may be weighed. From a short-term perspective, it will be necessary to carefully control costs, the supply chain, and the price policies adopted for the new items of merchandise, created ad hoc by local handicraft entities: they shall thus express a strategy that is not marked by the maximisation of profit, but mostly by the promotion of the craftsmen. Moreover, it will be necessary to draft a precise customer feedback analysis based upon the satisfaction and sales of the new merchandise at the Ecomuseum, in order to fully understand the level of success among visitors and possible issues. From a mid-term perspective, the activities to be performed may consider the collection to be “live” and complementable, using both the student design concepts and the development of new products upon analysis of the ecomuseum gift shop visitor feedback. Furthermore, the distribution of the merchandise may be expanded beyond the ecomuseum bookshop. In fact, these proposals start from the mine site and enlarge their geographical “radius of action” of cultural references up to the Alpine chain. Therefore, presenting them at commercial and recreation centres in the valley, Sustainability 2018, 10, 2122 18 of 23 in the province of Turin and in the nearby regions, may contribute to the creation of a widespread consciousness among the local communities about the local material culture. Finally, regarding longer-term activities, the described research and education operation assigns to the university and its researchers the important responsibility of spreading and promoting the results and considerations involving territory-based (and not only) merchandise outlined in this article also to local, regional and national authorities, relevant stakeholders of the regional and national cultural system (Regione Piemonte—Piedmont region authority, and MiBACT—Italian Ministry of cultural heritage, cultural activities, and tourism). The aim is to act at a political level to dismantle definitively the practice of promoting Italian cultural heritage through common and cheap merchandise. In conclusion, in terms of the repeatability of such an operation, the results obtained prove how—following an outlined, coded, and structured method—even students/pre-professionals or future designers still undergoing training are capable of developing concept designs that are coherent with the expectations of cultured, high-level museum merchandise. In fact, the quality of the results obtained is not only sparked by the “fresh” perspective of a young generation of designers on the topic, or the strong potential of the cultural resources to be promoted, but by the method presented and tested throughout the operation. The implementation of such a method thus allows the repeatability of the project even in contexts and fields of operation different to that presented (e.g., art cities, environmental and natural heritage) by small groups of researchers and professional designers which may obtain interesting results in the scope of a coherent Sustainability 2018, 10, x FOR PEER REVIEW 18 of 23 and conscious promotion of cultural heritage. Author Contributions: D.D.P., B.L. and M.B. conceptualized the manuscript; B.L., M.B. and C.D.G. contributed Authorto the Contributions: methodologicalD.D.P., approach B.L. andto the M.B. paper; conceptualized D.D.P. and theM.B. manuscript; edited and B.L., evolved M.B. andthe C.D.G.visualization contributed of theto the methodological approach to the paper; D.D.P. and M.B. edited and evolved the visualization of the contents; contents; C.D.G. headed the research group and supervised the manuscript writing. C.D.G. headed the research group and supervised the manuscript writing. Funding:Funding:This This research research received received no no external external funding. funding. Acknowledgments:Acknowledgments:The The authors authors wouldwould like to to thank thank the the Ecomuseo Ecomuseo delle delle Miniere Miniere e della e della Valle Valle Germanasca, Germanasca, the thecase case studystudy for for this this research, research, and and Luca Luca Genre, Genre, Director Director and and main main contact contact with with the Ec theomuseum. Ecomuseum. Many Many thanks thanks are arealso also due due to to all all the the students, students, teachers teachers and and assistants assistants who who took took part part in the in di thedactic didactic and research and research action. action. Lastly, Lastly, the theauthors authors thank thank the the reviewers reviewers for for their their insights. insights.

ConflictsConflicts of of Interest: Interest:The The authors authors declare declare no no conflict conflict of of interest. interest. Appendix A Appendix A AA significant significant selection selection of of the the vast vast variety variety ofof newnew museummuseum merchandise concepts concepts resulting resulting from from thethe “In “In miniera!” miniera!” educational educational operation operation isis summarizedsummarized inin thethe presentpresent appendix. For For each each design design proposal,proposal, the the title, title, the the student student authors, authors, a a picture picture and and aa shortshort descriptivedescriptive text is provided. provided. Tesori della miniera (“treasures of the mine”), by E. Ferrari, H. Gao, I. Golin and E. Grassi Odetti Tesori della miniera (“treasures of the mine”), by E. Ferrari, H. Gao, I. Golin and E. Grassi Odetti

TesoriTesori della della miniera miniera is is a veryvery different different display display case case comparedcompared to the to thetraditional traditional collectors’ collectors’ model: model: it is ita paper is a “tray”paper made “tray” using made the using origami the origami technique, technique, making making the sheetthe sheetof paper of paper three-dimensional three-dimensional by by means ofof a a purposelypurposely designed designed folding folding system, system, which which creates creates slots slots for forthe the collector’s collector’s minerals. minerals. The The graphic graphic design design of the of the box box containingcontaining and and protecting protecting the the display display case recallsrecalls thethe mineral’smineral’s facets, facets, just just like like the theorigami origami resembles resembles the thethree- dimensionalthree-dimensional nature of nature the rock. of the rock.

ZoomBox, by M. Maccagno, R. Milanesi, G. Monge and I. Montesi ZoomBox is a cube made of poly-methyl methacrylate which is at the same time a container, display case, and tool to observe the most hidden details of the mineral it contains: three of the cube’s faces house glass lenses with different zooming factors, which allow users to explore the rock surface at varied scales; a fourth face allows them to observe the mineral in actual size. At the cube base, a gearwheel allows the user to turn the mineral to observe all sides. It is a “technological” display case that gives value to the rock/mineral and stimulates the observer’s curiosity.

Peiro douço (“sweet rock”), by A. Cerruti, M. Cicchella, A. Colonna and C. Dellavalle In the Occitan language, talc is called “peiro douço” (sweet rock), referring to its poor hardness. In fact talc is the very first mineral on the Mohs scale of empirical hardness of materials [48]. Talc is thus expressed in its “sweetest” forms: as a lollipop, an ice pop, or a candy, taking advantage of the package to define and help

understand the metaphor. The ingredients of each little sweet—talc, Occitan dialect, and local culture—make the user reflect upon the importance that the material and its extraction activity have had for the Valle Germanasca territory, thus allowing the visitor to bring it home or give to someone as a gift the founding element of the visit.

Sustainability 2018, 10, x FOR PEER REVIEW 18 of 23 Sustainability 2018, 10, x FOR PEER REVIEW 18 of 23 Author Contributions: D.D.P., B.L. and M.B. conceptualized the manuscript; B.L., M.B. and C.D.G. contributed Authorto the methodological Contributions: approachD.D.P., B.L. to and the M.B.paper; conceptualized D.D.P. and M.B. the manuscript; edited and B.L.,evolved M.B. theand visualization C.D.G. contributed of the tocontents; the methodological C.D.G. headed approach the research to the grou paper;p and D.D.P.supervised and theM.B. manuscript edited and writing. evolved the visualization of the contents; C.D.G. headed the research group and supervised the manuscript writing. Funding: This research received no external funding. Funding: This research received no external funding. Acknowledgments: The authors would like to thank the Ecomuseo delle Miniere e della Valle Germanasca, the Acknowledgments:case study for this research, The authors and Lucawould Genre, like to Director thank the and Ecomuseo main contact delle with Miniere the Ec e omuseum.della Valle ManyGermanasca, thanks theare casealso duestudy to forall thisthe students,research, teachersand Luca and Genre, assistants Director who and took main part contact in the diwithdactic the andEcomuseum. research action. Many thanksLastly, arethe alsoauthors due thank to all the students,reviewers teachers for their and insights. assistants who took part in the didactic and research action. Lastly, the authors thank the reviewers for their insights. Conflicts of Interest: The authors declare no conflict of interest. Conflicts of Interest: The authors declare no conflict of interest. Appendix A Appendix A A significant selection of the vast variety of new museum merchandise concepts resulting from the “InA significant miniera!” selectioneducational of the operation vast variety is summarized of new museum in the merchandise present appendix. concepts For resulting each design from theproposal, “In miniera!” the title, educationalthe student authors,operation a pictis summarizedure and a short in thedescriptive present textappendix. is provided. For each design proposal, the title, the student authors, a picture and a short descriptive text is provided. Tesori della miniera (“treasures of the mine”), by E. Ferrari, H. Gao, I. Golin and E. Grassi Odetti Tesori della miniera (“treasures of the mine”), by E. Ferrari, H. Gao, I. Golin and E. Grassi Odetti Tesori della miniera is a very different display case Tesoricompared della to theminiera traditional is a collectors’very different model: display it is a paper case compared“tray” made to the using traditional the origami collectors’ technique, model: making it is a paper the “tray”sheet ofmade paper using three-dimensional the origami technique, by means making of the a sheet purposely of paperdesigned three-dimensional folding system, whichby means creates ofslots a purposelyfor the collector’s designed minerals. folding The system, graphic which design creates of the slots box forcontaining the collector’s and protecting minerals. Thethe graphicdisplay design case recalls of the boxthe Sustainability 2018, 10, 2122 containingmineral’s facets, and justprotecting like the theorigami display resembles case recalls the three- 19the of 23 mineral’sdimensional facets, nature just oflike the the rock. origami resembles the three- dimensional nature of the rock. ZoomBox, by M. Maccagno, R. Milanesi, G. Monge and I. Montesi ZoomBox, by M. Maccagno, R. Milanesi, G. Monge and I. Montesi ZoomBox, by M. Maccagno, R. ZoomBoxMilanesi,ZoomBox G.is isaMonge acube cube madeand made I. ofMontesi of poly-methyl poly-methyl methacrylate ZoomBoxwhichwhich is at is is atthe a the cubesame same made time time aof acontainer, container,poly-methyl display display methacrylate case, case, and whichtooland to is toolobserve at tothe observe samethe most time the hidden mosta container, hidden details display details of the ofmineralcase, the and it toolcontains:mineral to observe three it contains: ofthe the most cube’s three hidden faces of the details house cube’s glassof faces the lenses mineral house with glass it contains:differentlenses withthreezooming differentof the factors, cube’s zooming which faces factors, houseallow glassusers which lenses to allow explore with users different theto rock explore zoomingsurface the rockat factors, varied surface which scales; at varied allow a fourth scales; users face ato fourth explore allows face thethemallows rock to observesurface them to theat observe variedmineral the scales; in mineral actual a fourth in size. actual Atface size.the allows cube At the thembase,cube ato gearwheel base,observe a gearwheel the allows mineral the allows userin actual the to userturn size. tothe turnAt mineral the the cube to bobservease,mineral a gearwheel all tosides. observe It allows is alla “technological” sides.the user It is to a “technological”turn display the mineral case that to observegivesdisplay value all casesides. to that theIt is gives arock/mineral “technological” value to the and rock/mineral display stimulates case andthatthe givesobserver’sstimulates value curiosity. theto the observer’s rock/mineral curiosity. and stimulates the observer’s curiosity. Peiro douço (“sweet rock”), by A. Cerruti, M. Cicchella, A. Colonna and C. Dellavalle Peiro douço (“sweet rock”), by A. Cerruti, M. Cicchella, A. Colonna and C. Dellavalle Peiro douço (“sweet rock”), by A. Cerruti,In M. the Ci Occitancchella, A.language, Colonna talc and is C. called Dellavalle “peiro douço” In(sweet Inthe the rock),Occitan Occitan referring language, language, to its talc talc poor isis hardness. calledcalled “peiro “peiro In fact douço” douço” talc is (sweetthe(sweet very rock), rock),first referring mineral referring toon toits th itspeoor poorMohs hardness. hardness. scale Inof Infactempirical fact talc talc is is thehardnessthe very very firstof first materials mineral mineral [48].on on th theTalce MohsMohs is thus scalescale expressed of of empirical empirical in its hardness“sweetest”hardness of forms: ofmaterials materials as a [48]. lollip [48 ].Talcop, Talc anis is thusice thus pop, expressed expressed or a candy, in in its “sweetest”taking advantage forms: asof athe lollip packageop, an iceto definepop, or and a candy, help “sweetest” forms: as a lollipop, an ice pop, or a candy, takingunderstandtaking advantage advantage the metaphor. of of the the package The ingredients toto definedefine of and eachand help helplittle

understandsweet—talc,understand theOccitan the metaphor. metaphor. dialect, The and The ingredients local ingredients culture—make of of each each little littlethe sweet—talc,usersweet—talc, reflect upon Occitan Occitan the dialect,importance dialect, and and localthat local the culture—make culture—makematerial and the its the userextractionuser reflect reflect activityupon upon the have the importance importance had for thatthe that theValle the material materialGermanasca and and its its extractionterritory,extraction thus activity activity allowing have have the had hadvisitor for for tothe the bring Valle it GermanascahomeGermanasca or give

territory,to someoneterritory, thus as thus allowinga gift allowing the thefounding the visitor visitor elementto bring to bring ofit homethe it home visit. or orgive give to someone as a gift the founding element of the visit. Sustainability 2018, 10, x FOR PEER REVIEW to someone as a gift the founding element of the 19 visit. of 23 Sustainability 2018, 10, x FOR PEER REVIEW 19 of 23 TalCage, by A. Oliveri, C. Pagano, F. Ticca and G. Travaglio TalCage, by A. Oliveri, C. Pagano, F. Ticca and G. Travaglio TalCage, by A. Oliveri, C. Pagano, F. Ticca and G. Travaglio

TalCage is a pendant designed to promote talc, which TalCage is a pendant designed to promote talc, which in in itself is a mineral of low value, but may have itselfTalCage is a is mineral a pendant of low designed value, butto promote may have talc, multiple which multiple uses and in this case is a jewel, elevated to usesin itself and is in thisa mineral case is aof jewel, low elevatedvalue, but to “preciousmay have “precious stone” status. The pendant is a talc stone”multiple status. uses Theand pendantin this case is a talcis a fragmentjewel, elevated with a to fragment“precious withstone” a varyingstatus. Theshape pendant for each is ajewel, talc varying shape for each jewel, mounted within a “setting” mountedfragment withinwith a “setting”varying representedshape for byeach a spring,jewel, represented by a spring, which given its elastic nature whichmounted given within its elastic a “setting” nature represented adapts to theby ashape spring, of adapts to the shape of the talc rock and holds it. thewhich talc given rock andits elastic holds it.nature adapts to the shape of the talc rock and holds it.

Talco smacchiante (“stain-removing talc”), by G. Albanese, G. Basile, G. Borgese and L. Chiambretto Talco smacchiante (“stain-removing talc”), by G. Albanese, G. Basile, G. Borgese and L. Chiambretto Talco smacchiante (“stain-removing talc”), by G. Albanese, G. Basile, G. Borgese and L. Chiambretto Talco smacchiante is a product designed to promote oneTalco of smacchiante smacchiantethe main qualities isis aa product product of talc, designed designedits absorbency. to to promote promote Talc, one whichofone the of main inthe this main qualities project qualities of is talc, presented of itstalc, absorbency. its in absorbency. the form Talc, whichof Talc, an in extremely fine powder, is a stain remover for clothes, thiswhich project in this is presentedproject is inpresented the form in of the an extremelyform of an fine topowder,extremely be always is fine a stainkept powder, removerin one’s is apurse for stain clothes, orremover luggage. to be foralways It clothes, comes kept as a paper “pouch” containing various smaller into one’sbe always purse kept or luggage. in one’s Itpurse comes or asluggage. a paper It “pouch” comes pouches, which are a ready-to-use solution for a small containingas a paper various “pouch” smaller containing pouches, whichvarious are smaller a but serious everyday inconvenience. ready-to-usepouches, which solution are a ready-to-use for a small but solution serious for a small everydaybut serious inconvenience. everyday inconvenience.

Scriviminiera (“write the mine”), by G. Paccagnella, L. Pellizzari, C. Tosi and L. Zoccola Scriviminiera (“write the mine”), by G. PaccagnScriviminieraella, L. Pellizzari, is a lettering C. Tosi guide and for L. miners,Zoccola designed toScriviminiera represent theis a letteringgraphic guideterms forand miners, signs designedused in everydayto represent life atthe the graphic mine. The terms tool comesand signs with useda paper in stripeveryday bearing life atthe the product mine. The instructions: tool comes to with look a paperfor a markerstrip bearing or a pencil the product of the iconic instructions: mining signal to look colours for a (yellow,marker or red, a pencil and ofblack); the iconic to compose mining signalthe funniest colours message (yellow, possiblered, and in black);a wordplay to compose of mining the terms funniest (e.g., bmessagearacca delpossible caposquadra, in a wordplay “mining of mining team terms leader (e.g., shed”;baracca colpidel caposquadra,carichi, “loaded “mining guns”, teametc.) findleader a mediumshed”; colpi on which carichi, to write“loaded the message;guns”, etc.) and sendfind a

messagemedium fromon which the mine to write of everyday the message; life. and send a

Miner’s book, by D. Kim, S. Leone,message T. Litrico from and the mineM. Maschio of everyday life. Miner’s book, by D. Kim, S. Leone,Miner’s T. Litrico book wasand bornM. Maschio out of the idea to introduce a typicalMiner’s item book of was world-class born out museum of the idea bookshops to introduce to the a merchandisetypical item of collection: world-class th museume note pad. bookshops The concept to the designmerchandise includes collection: a family ofth small-sizee note pad. sketching The concept paper notebooks,design includes with apaperboard family of small-size covers referencing sketching paperlife at the mines. Some recall the graphic designs of the notebooks, with paperboard covers referencing life at registersthe mines. used Some by recallthe mine the superintendents—tographic designs of thejot

downregisters the usedactivities by the carried mine out, superintendents—to the people involved, jot thedown tons the detonated—whilst activities carried out,others the bearpeople a handprint involved, onthe a tonstalc-dusted detonated—whilst notebook, th otherse trace bearof the a accounting handprint workon a talc-dusted carried out notebook, at the mine, th ejust trace like of the the notes accounting we jot downwork carriedin our everyday out at the life.mine, just like the notes we jot down in our everyday life.

Sustainability 2018, 10, x FOR PEER REVIEW 19 of 23 Sustainability 2018, 10, x FOR PEER REVIEW 19 of 23 TalCage, by A. Oliveri, C. Pagano, F. Ticca and G. Travaglio TalCage, by A. Oliveri, C. Pagano, F. Ticca and G. Travaglio

TalCage is a pendant designed to promote talc, which TalCagein itself isis aa pendant mineral designed of low tovalue, promote but talc,may which have inmultiple itself isuses a mineraland in this of lowcase value,is a jewel, but elevatedmay have to “precious stone” status. The pendant is a talc multiple uses and in this case is a jewel, elevated to “preciousfragment withstone” a status.varying Theshape pendant for each is ajewel, talc

fragmentmounted withinwith a “setting”varying representedshape for eachby a spring,jewel, mountedwhich given within its elastica “setting” nature represented adapts to theby ashape spring, of whichthe talc given rock andits elastic holds natureit. adapts to the shape of the talc rock and holds it.

Talco smacchiante (“stain-removing talc”), by G. Albanese, G. Basile, G. Borgese and L. Chiambretto Talco smacchiante (“stain-removing talc”), by G. Albanese, G. Basile, G. Borgese and L. Chiambretto Talco smacchiante is a product designed to promote Talcoone of smacchiante the main qualities is a product of talc, designed its absorbency. to promote Talc, onewhich of thein this main project qualities is presented of talc, its inabsorbency. the form ofTalc, an extremely fine powder, is a stain remover for clothes, which in this project is presented in the form of an extremelyto be always fine kept powder, in one’s is apurse stain orremover luggage. for It clothes, comes

toas bea alwayspaper kept“pouch” in one’s containing purse or luggage.various Itsmaller comes pouches, which are a ready-to-use solution for a small Sustainability 2018, 10, 2122 as a paper “pouch” containing various smaller20 of 23 pouches,but serious which everyday are a ready-to-useinconvenience. solution for a small but serious everyday inconvenience. Scriviminiera (“write the mine”), by G. Paccagnella, L. Pellizzari, C. Tosi and L. Zoccola Scriviminiera (“write the mine”), by G. Paccagnella, L. Pellizzari, C. Tosi and L. Zoccola Scriviminiera (“write the mine”), by G. PaccagnScriviminieraella, L. Pellizzari, is a lettering C. Tosi guide and for L. miners,Zoccola designed Scriviminiera is a lettering guide for miners, designed to Scriviminierato represent theis a letteringgraphic guideterms forand miners, signs designed used in represent the graphic terms and signs used in everyday toeveryday represent life atthe the graphic mine. The terms tool andcomes signs with used a paper in life at the mine. The tool comes with a paper strip everydaystrip bearing life atthe the product mine. The instructions: tool comes to with look a paper for a bearing the product instructions: to look for a marker or stripmarker bearing or a pencil the product of the iconic instructions: mining signalto look colours for a a pencil of the iconic mining signal colours (yellow, red, marker (yellow, or red, a pencil and ofblack); the iconic to compose mining signal the funniest colours and black); to compose the funniest message possible in a (yellow,message possiblered, and in black); a wordplay to compose of mining the terms funniest (e.g., wordplay of mining terms (e.g., baracca del caposquadra, messagebaracca possibledel caposquadra, in a wordplay “mining of mining team terms leader (e.g., “mining team leader shed”; colpi carichi, “loaded guns”, bshed”;aracca colpidel caposquadra,carichi, “loaded “mining guns”, teametc.) findleader a etc.) find a medium on which to write the message; shed”;medium colpi on which carichi, to write“loaded the message;guns”, etc.) and findsend a and send a message from the mine of everyday life. mediummessage fromon which the mine to write of everyday the message; life. and send a message from the mine of everyday life. Miner’s book, by D. Kim, S. Leone, T. Litrico and M. Maschio Miner’s book, by D. Kim, S. Leone, T. Litrico and M. Maschio Miner’s book, by D. Kim, S. Leone,Miner’s T. Litrico book wasand M.born Maschio out of the idea to introduce a Miner’stypical item book of was world-class born out museum of the ideaidea bookshops toto introduceintroduce to the aa typicalmerchandise item item of of collection: world-class world-class th museum museume note pad. bookshops bookshops The concept to to the the merchandisedesign includes collection:collection: a family theofth small-sizee note note pad. pad. sketching The The concept concept paper design designnotebooks,includes includes a familywith a paperboard family of small-size of small-size covers sketching referencing sketching paper paperlife at the mines. Some recall the graphic designs of the notebooks, with paperboard covers referencing lifelife atat the theregistersmines. mines. Some used Some recall by recallthe the graphicmine the superintendents—tographic designs designs of theregisters of thejot

registersdownused by the theused activities mine by superintendents—tothe carried mine out, superintendents—to the people jot down involved, the jot downtheactivities tons the detonated—whilst carriedactivities out, carried the people out, others the involved, bearpeople a the handprintinvolved, tons theondetonated—whilst atons talc-dusted detonated—whilst notebook, others bear th otherse trace a handprint bearof the a accountinghandprint on a onworktalc-dusted a talc-dusted carried notebook, out notebook, at the the mine, trace th ejust trace of like the of accountingthe the notes accounting we work jot down in our everyday life. workcarried carried out at out the at mine, the mine, just like just the like notes the notes we jot we down jot in Sustainability 2018, 10, x FOR PEER REVIEW downour everyday in our everyday life. life. 20 of 23

Wrap a Rock, by A. Oberti, P. Stralla, L. Viano, H. Zhang and R. Zizi Ruiu Wrap a Rock, by A. Oberti, P. Stralla, L. Viano, H. Zhang and R. Zizi Ruiu WrapWrap a Rock a Rock is a is stack a stack of ofsheets/wrapping sheets/wrapping paper paper for for the the “young“young geologist” geologist” to wrap to wrap minerals minerals in: in:the thepurpose purpose of the of gamethe is game to collect is to collectand classi andfy classify rocks rocksfound found throughout throughout an excursion,an excursion, just like just real like scient real scientists,ists, and record and record their theirsite of site discovery,of discovery, the date, the date,their theircolour, colour, and andtheir their lustre. lustre. Sheets are Sheetsmade of are non-woven made of non-woven fabric, so that fabric, they so may that be they written may be on using a pen, but can also be wrapped around a mineral on usingwritten a pen, on using but can a pen, also but be canwrapped also be around wrapped a mineral around a or rock with a simple gesture, like protecting a precious or rockmineral with or a rock simple with gesture, a simple like gesture, protecting like protecting a precious a object in a handkerchief. Wrap a Rock is developed to objectprecious in a objecthandkerchief. in a handkerchief. Wrap a RockWrap is adeveloped Rock is to attract kids to the world of science, observation of nature, attractdeveloped kids to the to attract world kids of science, to the worldobservation of science, of nature, and collecting. andobservation collecting. of nature, and collecting. La peira d’la minera (“the stone of the mine”), by Z. Ansaldi, S. Cretaio, G. D’Agostino and La peira d’la minera (“the stone of the mine”), by Z. Ansaldi, S. Cretaio, G. D’Agostino and G. De Benedictis G. De Benedictis La peira d’la minera is a box/game inspired by La peira d’la minera is a box/game inspired by traditional traditional games played with stones, and has a double games played with stones, and has a double function: the function: the outer part of the container illustrates three outer part of the container illustrates three activities that activities that may be played outside (e.g., hopscotch, may be played outside (e.g., hopscotch, and the ancient and the ancient Roman game nummun lactare) with the Roman game nummun lactare) with the help of a piece of help of a piece of talc to be used to trace lines on the floor, talc to be used to trace lines on the floor, while the inner while the inner part of the container presents the part of the container presents the diagrams for four diagrams for four traditional board games traditional board games (e.g., tic-tac-toe and nine men’s (e.g., tic-tac-toe and nine men’s morris). The pieces morris). The pieces which may be used for every game are which may be used for every game are in turn made of in turn made of stone, in particular quartz—a mineral also stone, in particular quartz—a mineral also found in the found in the Germanasca valley—of two different colours:

smokyGermanasca grey and valley—ofmilky white. two different colours: smoky grey and milky white. Sensazioni (“sensations”), by L. Bertolotti, D. Bruno, S. Castrogiovanni and F. Cipriani The project gives a fist-bump to Bruno Munari’s “prebooks”. It traces out the educational itinerary of the mine through the use of different sensory cards varying in material, finish, thickness, and colour, representing the different rock types of the alpine area of Piedmont: gneiss, quartz, schist, marble, and mica-chlorite schist. By

touching the pages of the book, the reader thus embarks on a journey deep into the bowels of the mountain. The tactile inserts are accompanied by quotes highlighting the tactile and/or visual impression perceived upon leafing through the pages. A sheet-by-sheet discovery generating

a conceptual voyage across the mine galleries.

References

1. Decree-Law No. 42, January 22nd 2004 “Code for Cultural and Landscape Heritage”. Available online: https://www.unodc.org/cld/en/legislation/ita/legislative_decree_no._42_of_22_january_2004- _code_of_the_cultural_and_landscape_heritage/title_i/articles_1_2_3/code_of_the_cultural_and_landscap e_heritage.html? (accessed on 26 January 2018). 2. Celaschi, F. Innovating cultural enjoyment. A methodological path for the enhancement of cultural assets through the culture of design and of communication. In D.CULT. Design for Cultural and Environmental Assets, 1st ed.; Bozzola, M., Ed.; Lybra Immagine: Milan, Italy, 2009; pp. 8–23, ISBN 9788882230906. 3. World Heritage Sites. Available online: www.unesco.it/it/ItaliaNellUnesco/Detail/188 (accessed on 26 January 2018). 4. Bozzola, M. (Ed.) D.CULT. Design for Cultural and Environmental Assets, 1st ed.; Lybra Immagine: Milan, Italy, 2009; ISBN 9788882230906.

Sustainability 2018, 10, x FOR PEER REVIEW 20 of 23

Wrap a Rock, by A. Oberti, P. Stralla, L. Viano, H. Zhang and R. Zizi Ruiu Wrap a Rock is a stack of sheets/wrapping paper for the “young geologist” to wrap minerals in: the purpose of the game is to collect and classify rocks found throughout an excursion, just like real scientists, and record their site of discovery, the date, their colour, and their lustre. Sheets are made of non-woven fabric, so that they may be written on using a pen, but can also be wrapped around a mineral or rock with a simple gesture, like protecting a precious object in a handkerchief. Wrap a Rock is developed to attract kids to the world of science, observation of nature, and collecting.

La peira d’la minera (“the stone of the mine”), by Z. Ansaldi, S. Cretaio, G. D’Agostino and G. De Benedictis La peira d’la minera is a box/game inspired by traditional games played with stones, and has a double function: the outer part of the container illustrates three activities that may be played outside (e.g., hopscotch, and the ancient Roman game nummun lactare) with the help of a piece of talc to be used to trace lines on the floor, while the inner

part of the container presents the diagrams for four traditional board games (e.g., tic-tac-toe and nine men’s morris). The pieces which may be used for every game are Sustainability 2018, 10, 2122 in turn made of stone, in particular quartz—a mineral 21also of 23 found in the Germanasca valley—of two different colours:

smoky grey and milky white. Sensazioni (“sensations”), by L. Bertolotti, D. Bruno, S. Castrogiovanni and F. Cipriani Sensazioni (“sensations”), by L. Bertolotti, D. Bruno, S. Castrogiovanni and F. Cipriani The project gives a fist-bump to Bruno Munari’s The project gives a fist-bump to Bruno Munari’s “prebooks”. It traces out the educational itinerary of the “prebooks”. It traces out the educational itinerary of the mine through the use of different sensory cards varying mine through the use of different sensory cards varying in in material, finish, thickness, and colour, representing the material, finish, thickness, and colour, representing the different rock types of the alpine area of Piedmont: different rock types of the alpine area of Piedmont: gneiss, quartz,gneiss, schist, quartz, marble, schist, marble,and mica-chlorite and mica-chlorite schist. schist. By

touchingBy touching the pages the pagesof the ofbo theok, book,the reader the reader thus thusembarks on embarksa journey on deep a journey into the deep bowels into theof the bowels mountain. of the The tactilemountain. inserts are The accompanied tactile inserts by are quotes accompanied highlighting by quotes the tactilehighlighting and/or visual the tactile impression and/or perceived visual impression upon leafing throughperceived the pages. upon A leafing sheet-by-sheet through the discovery pages. generating

a conceptualA sheet-by-sheet voyage discoveryacross the generatingmine galleries. a conceptual voyage across the mine galleries. References References 1. Decree-Law No. 42, January 22nd 2004 “Code for Cultural and Landscape Heritage”. Available online: 1. Decree-Lawhttps://www.unodc.org/cld/en/l No. 42, January 22ndegislation/ita/legislative_d 2004 “Code for Culturalecree_no._42_of_22_january_2004- and Landscape Heritage”. Available online: https://www.unodc.org/cld/en/legislation/ita/legislative_decree_no._42_of_22_january_2004-_code__code_of_the_cultural_and_landscape_heritage/title_i/articles_1_2_3/code_of_the_cultural_and_landscap of_the_cultural_and_landscape_heritage/title_i/articles_1_2_3/code_of_the_cultural_and_landscape_e_heritage.html? (accessed on 26 January 2018). 2. heritage.html?Celaschi, F. Innovating(accessed on cultural 26 January enjoyment. 2018). A methodological path for the enhancement of cultural assets 2. Celaschi,through F. the Innovating culture of cultural designenjoyment. and of communication. A methodological In D.CULT. path forDesign the enhancementfor Cultural and of Environmental cultural assets throughAssets the, 1st culture ed.; Bozzola, of design M., andEd.; ofLybra communication. Immagine: Milan, In D.CULT. Italy, 2009; Design pp. for 8–23, Cultural ISBN and 9788882230906. Environmental Assets, 3. 1stWorld ed.; Bozzola, Heritage M., Sites. Ed.; LybraAvailable Immagine: online: Milan, www.unesco Italy, 2009;.it/it/ItaliaNellUnesco/Detail/188 pp. 8–23, ISBN 9788882230906. (accessed on 26 3. WorldJanuary Heritage 2018). Sites. Available online: www.unesco.it/it/ItaliaNellUnesco/Detail/188 (accessed on 4. 26 JanuaryBozzola, 2018).M. (Ed.) D.CULT. Design for Cultural and Environmental Assets, 1st ed.; Lybra Immagine: Milan, 4. Bozzola,Italy, 2009; M. (Ed.) ISBND.CULT. 9788882230906. Design for Cultural and Environmental Assets, 1st ed.; Lybra Immagine: Milan, Italy, 2009; ISBN 9788882230906. 5. Bozzola, M.; De Giorgi, C. An introduction to design as a tool for the enhancement of local cultural heritage: A possible methodological approach and experiences from Politecnico Di Torino. In Cultural Heritage: Perspectives, Challenges and Future Directions, 1st ed.; Berg, S., Fiedler, E., Eds.; Nova Science Publishers: New York, NY, USA, 2017; pp. 65–95, ISBN 9781536129137. 6. Greffe, X.; Pflieger, S. (Eds.) Culture and Local Development; OCSE-OECD Publishing: Paris, France, 2005; ISBN 9264009906. 7. Monterosso, F. I musei minerari: Percorsi Del museo delle Solfare di Trabia-Tallarita. In II Design dei Beni Culturali. Crisi, Territorio, Identità (Cultural Heritage Design. Crisis, Territory, Identity), 1st ed.; Daverio, P., Trapani, V., Eds.; RCS Libri S.p.A.: Milan, Italy, 2013; ISBN 9788817069861. 8. Frey, B.S.; Meier, S. The economics of museums. In Handbook of the Economics of Art and Culture, 1st ed.; Ginsburgh, V.A., Throsby, D., Eds.; Elsevier: Amsterdam, The Netherlands, 2006; Volume 1, pp. 1017–1047, ISBN 9780444508706. 9. Bortolotto, C. (Ed.) II Patrimonio Immateriale Secondo L’Unesco: Analisi e Prospettive (The Immaterial Heritage According the Unesco: Analysis and Perspective), 1st ed.; Istituto Poligrafico e Zecca dello Stato: Rome, Italy, 2008; ISBN 9788824011464. 10. The Convention for Safeguarding of the Intangible Cultural Heritage. Document Approved at the 32nd Session of the General Conference in Paris on 17 October 2003 and Ratified by Italy on 27 September 2007. Available online: https://ich.unesco.org/en/convention (accessed on 26 January 2018). 11. Kirshenblatt Gimblett, B. Intangible heritage as metacultural production. Mus. Int. 2004, 56, 52–64. [CrossRef] 12. Kent, T. The role of the museum shop in extending the visitor experience. Int. J. Nonprofit Volunt. Sect. Mark. 2010, 15, 67–77. [CrossRef] 13. Falk, P.; Campbell, C. The Shopping Experience, 1st ed.; Polity: Oxford, UK, 1997; ISBN 0761950664. 14. Theobald, M.M. Museum Store Management, 2nd ed.; Rowman & Littlefield Publishers: Lanham, MD, USA, 2000; ISBN 9780742504318. 15. Toepler, S.; Dewees, S. Are there Limits to Financing Culture through the Market? Evidence from the U.S. Museum Field. Int. J. Public Adm. 2007, 28, 131–146. [CrossRef] Sustainability 2018, 10, 2122 22 of 23

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