EXPO MILAN 2015 an international and multidisciplinary design experience with Politecnico di Milano

EXPO MILAN 2015: an international and multidisciplinary design experience with Politecnico di Milano

Luisa Collina a, Davide Fassi b, Valentina Auricchio c a Full professor, Politecnico di Milano; b Fellow researcher, PhD, Politecnico di Milano, c PhD, Politecnico di Milano

Abstract: The city of Milan will host the EXPO in 2015 with the theme “Feeding the planet. Energy for life”. The period of time separating us from the event is generating the creation of a community which in many ways feels part of the advent of Expo 2015, “looking forward”, for example, with growing interest and curiosity to the event, “participating” in its coming about with its contribution and, finally, “visiting” the exposition and related initiatives in 2015. “Mobile Expo” and the “Cluster International Workshop” are two of the activities which are typical of the collective process in place and the outputs of which are promoters of innovation and socialization.

Keywords: collective, Expo, participation, international, multidisciplinary.

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Introduction The Exposition for the Jubilee held in Vienna in 1898 had to “attract the attention of

other countries on the level of our craftsmanship and our progress during the second half of the century, while we would have done something far more praiseworthy if we had limited ourselves to a review of everything which in the last fifty years we have lost the opportunity to do”

Kraus (1898:337) This deeply critical statement by Karl Kraus, on the verge of masochism, written

more than 100 years ago, well reflects the thinking of many today, opposed to or skeptical of Expo 2015.

Reviewing newspapers, television programmes and public debates in recent years sees Expo as one of the central issues: for or against? Does a universal exposition make sense in the era of Web 2.0? Will Italy make it? Is it money well spent? Who will be involved in the design? These are just some of the most frequently asked questions, a symptom of interest and expectation in relation to such a great event, but at the same time of doubt, perplexity and lack of confidence in its ultimate success.

If for many these positions are to be attributed to an entirely Italian way of facing these major challenges, the scathing comment of Karl Kraus in 1989, as well as the 47 who voted in the House of Commons in the nineteenth century against the license to use Hyde Park in London for building the Crystal Palace in 1851, remind us that consensus building around a big event has always constituted one of the most important, delicate and complex activities which organizers need to address.

To make this even more complicated it should also be remembered that universal expositions, unlike the Olympics, cannot leverage the important and reassuring phenomenon of a general public of fans, whose link with sport is already solid, strong and emotionally warm. Expos must each time create their own fan base from scratch, build a system of local, national and international relations in order to create a community of people who feel involved, in various ways and with different intensities, in the forthcoming event. For Expo 2015 this has been one of the priorities of the last year.

Expo 2015 on tour The idea of a set of initiatives able to bring Expo 2015 to the squares of various

cities started at the beginning of 2012. It was certainly not an original idea, but rather one of the activities which complement every big event. The Olympic relay which carries the torch from Olympia to various cities to reach the venue of the opening ceremony of the games is in this sense the archetype of this set of initiatives. But that's not all. Think of the competitions for selection of athletes participating in the Olympic Games, of the countdown to the New Year of 2000, of the “pre-‐opening” of cultural events and openings of new institutions, but also, more simply, of the roadshows for the launch of new products on the market and of the teasers of advertising campaigns. All initiatives which, with very different sensitivity, cultural depth and economic support, aim to build an audience for a future initiative; they are aimed, in other words, at building relationship systems, each time based on different values (from sport to culture, from the desire to consume to beauty), with a group of people situated in different parts of the world. Expo 2015 is in this wake and starting from this year has set itself the goal of finding effective and original ways of involving a large number of


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people and anticipating in part the future experience of the universal exposition. In other words, the creation of a community which in many ways feels part of the advent of Expo 2015, for example, “looking forward” with growing interest and curiosity to the event, “participating” in its coming about with its contribution and, finally, “visiting” the exposition and related initiatives in 2015.

These sets of initiatives also have the objective of building important partnerships with central and local institutions, as well as with the business and association community, involving them in an ambitious, high visibility project which aims to be representative, as well as serve as a development thrust for the entire Italian political, social and entrepreneurial context. A community of different people, spread throughout the territory, who converge, thanks to the great attraction of the future Expo, but also to the sharing of certain basic values which in this case can be summed up in four words: _innovation in terms of finding new syntheses and new formulas of life which affect the equitable distribution of wellness of mankind in the third millennium; _creativity as the capacity to narrate (through the various artistic disciplines, culture and new technologies) the infinite meanings of food in all the different parts of our planet; _dialogue as openness to the experience, traditions and ambitions of different peoples of the world in an atmosphere of discussion and dialogue and with a view to peace and harmony; _finally inclusiveness, as a fundamental characteristic of this exposition, which aims to provide, for the first time, the possibility for millions of people to participate not only in the visit but also in the construction of Expo 2015 itself. The very theme, “Feeding the planet. Energy for life” has a magnitude such as to be at the centre of attention of the entire world, not only for its aspects of taste and pleasantness related to "good food" but above all for its impact on the health of all individuals and for its social, technological and economic significance on a global scale.

Innovation, creativity, dialogue and inclusiveness are values which need time to be transmitted, conceived and translated into action; they are based on the construction of an almost capillary system of relations which requires commitment, time to mature and practical initiatives which find initial embodiment in the itinerant events being defined. Going around, meeting different people and local communities is not just a matter of simply presenting the “Feeding the planet” programme or providing educational activities on the subject, but rather of giving shape and form to events able to fascinate and build emotional and empathetic links with people (“Expo will not succeed because it is rationalised, explained or illustrated but because it is able, as of today, to exercise its fascination, communicating its ambitions, its values, its identity”1), with particular attention to women, young people and scientists, identified as a priority target of Expo 2015.

1 Marco Pogliani, Presentation and launch of the final workshop, University Master in Art Events. Planning of Art, Culture and Design interventions for cities, companies and local communities, Università Cattolica del Sacro Cuore di Milano, Alta Scuola ALMED – Politecnico di Milano, Polidesign Consortium, June-‐July 2012

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Based on this reference framework, four itinerant “formats” were identified which individually or appropriately combined can start the process of local Expo community building.

The first one, “People of Food", is the name of the project currently still under development by Dante Ferretti. The well-‐known filmmaker is designing a series of characters, inspired by the works of Arcimboldo, which will be built on a giant scale (over 5 m in height).

These “giants”, called upon to embody Italian creativity, will be deployed in the squares and emblematic places of cities and regions in Italy and abroad, giving shape to a true staging of the “people of food”.

They will represent the outpost, a sort of “torch”, of Expo both alone as well as in connection with the other basic elements.

The second format, “The Planetary Table”, was inaugurated in May in Milan in collaboration with the Municipality of Milan as part of the “Expo Days” and was recently re-‐staged in Bologna. This is a large table placed in the most famous places of Italian and international cities, as well as a number of culinary stands in which caterers from the various communities in the city cook for the citizens. The planetary table aims to give substance to the desire of Expo to overcome, through the sharing of food, the cultural, social and political barriers between peoples. With just a few elements such as the large tables and a series of gazebos for distribution of food free of charge, it aims to provide participants with the experience of acceptance and coexistence.

The Table is accompanied by other initiatives which have the task of revealing to a city its little-‐known wealth in terms of culinary, environmental and agricultural offer in the vicinity.

The third intervention, called “Convivio” (feast), constitutes the place of knowledge and discussion on topics of nutrition in relation to the various disciplines of art, philosophy, spirituality and politics. Started in collaboration with the Corriere della Sera Foundation in Milan, “Convivio” takes on the broad and diversified role of platform of discussion with personalities and experts present both at home and abroad. Such debates can be the starting point for larger projects on specific issues, both in the regions as well as on the web.

The fourth element, finally, consists of “Mobile Expo”, a plastic representation of Expo, sign of the presence of Expo in Italy and in the world. It aims to be “an icon” able to announce the arrival of Expo in the area, but at the same time to be a place in which the universal exposition still being designed is narrated (via a large model, images, videos and presentations) and a forum for gathering comments, suggestions and adhesions to the event. In summary, it is both a stage as well as a space to listen to the local people, a sensor inserted deep into a specific urban context -‐ the central square of the city -‐ , but at the same time a physical terminal, a node of a much larger network than 2.0 communities.

These four formats, individually or integrated, have the task of supporting the communication activities of Expo 2015, first nationally and subsequently internationally, progressively enlarging participation levels.

The two projects underway involving Expo 2015 SpA alongside the Politecnico di Milano fall within the scope of this large framework. Mobile Expo, the first project, aims to create a temporary itinerant pavilion to “take Expo” to various Italian, European and international venues. The “Cluster International Workshop”, on the other hand, aims to conceive nine thematic pavilions, destined for countries invited to


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exhibit at the event by the organisers (mainly developing countries), through a broad, innovative and participatory design process.

Mobile Expo Milan is in fibrillation and citizens witness the change as new buildings rise and

pedestrian green areas are planned. The sites activated in recent years are many, starting from those finished, such as the redevelopment and functional restoration of the Central Station by the architect Merco Tamino, the new headquarters of the Lombardy Region by Pei, Cobb and Freed&Partners, and those still in construction such as the Porta Nuova – Garibaldi area whose Masterplan is the work of Pelli Clarke Pelli and which includes buildings by Munoz&Albin, Cino Zucchi Architetti, Grimshaw, the architect Pierluigi Nicolin and architects Valentino Benati and Federico Colletta. Vast areas of Milan, including Milanofiori Nord, the Portello and Bovisa areas are characterised by urban redevelopment over the last year which has accelerated with the approach of the event which will introduce Milan to the world, Expo 2015. These are permanent changes, an indelible mark which Expo will leave behind to give the city new living, cultural and meeting spaces. Yes, because the objective of the Expo is not only to temporarily exhibit innovations from around the world, but to be an opportunity to trigger lasting change. It is therefore necessary to leave a mark so as not to forget and to push society to look to the future and reflect on the present.

But if Milan is on the move, what is happening in other Italian cities and in the world? Are they aware that the event is near? Do they know what it is about? Do they know that the issues will be energy and feeding the planet?

The Mobile Expo projects stem from the idea of creating an interactive support able to stimulate curiosity, inform, excite and involve people far and near, not only as spectators to the event but as players active in the definition of its contents. The solution sought by the project aims to systematise innovative communication means and widely recognised platforms in order to reach the entire population (on-‐line and off-‐line); moreover, it must also be able to excite and intrigue, in short stimulate the desire to participate. Expo is a Milanese event but its impact at the international level will depend on the organisation's ability to promote its contents and attract an audience. Milan is preparing to welcome participants both via expansion of the tourist offer as well as with a smarter and more environmentally friendly transport plan. Nevertheless, to attract people from all over the world and trigger a buzz among those who will participate remotely, a recognisable physical instrument is required. Hence the idea of the Mobile Expo project.

The process Mobile Expo is a project assigned to the INDACO/Design Department of the

Politecnico di Milano which, for its implementation, asked the Interior Design research and teaching unit to identify a number of professionals able to interpret the needs expressed by Expo and transform them into design solutions. The selection of four figures, chosen from among the many professionals involved in teaching activities at the School of Design of the Politecnico di Milano, took place according to the following criteria: the ability to represent the quality of Milanese design and architecture and at

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the same time bring international experience gained in the field of exhibitions and ephemeral and temporary architecture in urban spaces.

We have selected four design firms: Andrea Branzi, Michele De Lucchi, Migliore+Servetto and Park Associati. Andrea Branzi is a full professor in Politecnico di Milano, he was part of the Archizoom Associati group from 1964 to 1974 and since 1967 he has been working in the design field going from experimental design to urban planning. Michele De Lucchi is also a full professor in Politecnico di Milano, he has taken part of experimental movements such as Cavart, Alchymia and Memphis, he has worked for Olivetti Design from 1992 to 2002 where he has specialized in interior design of offices, among his most important works there are many buildings developed internationally. Migliore+Servetto is a studio made by two people, Ico Migliore and Mara Servetto, both visiting professors in Politecnico di Milano, they are architects and they have worked with Achille Castiglioni till 1989, they have won many international awards especially in the field of interior architecture and design. Park Associati is a design studio founded in 1999 by two partners, Filippo Pagliani e Michele Rossi, they are both visiting professors in Politecnico di Milano, they are architects and have collaborated with Renzo Piano, David Chipperfield and Din Associates, they are specialized in innovation in buildings and in particular in interior design.

The project started in May 2012 and was completed in July of the same year. The element had to integrate three main functions:

Experiential: based on the EXPO 2015 themes, the installation had to provide visitors with an engaging experience and propose an experiential path.

Educational: the installation had to inform users on ongoing initiatives and EXPO programmes and themes. In addition, the intrinsic environmental characteristics of the installation such as, for example, the materials and their origin, energy consumption in operation and during transport -‐ assembly -‐ disassembly of the installation itself and, finally, the procedures for reuse, recycling and/or disposal at end of life had to be made explicit.

Informative: the installation had to be a meeting place for seminars, openings or other events related to the EXPO. The installation had not be a place of permanence but rather of transit, with minimum cover for rainy and winter periods.

Alongside the main functional values of the architectural object, secondary functional constraints, mainly related to the mode of use of the installation by users and to the technical constraints regarding use of materials and construction methods, were imposed: recognition, 24 hour fruition, immediacy, accessibility, safety, sustainability, autonomy, mobility, urbanity, size, solidity, availability of materials, cost.

After a month of design, on 29 June 2012, on the Bovisa campus of the Politecnico di Milano, the four firms presented their concept, first to the jury and then in an event open to the city. This method of presentation allowed the jury to independently assess the work behind closed doors and citizens to actively participate in the project before final selection.

Project evaluation was conducted according to the following criteria with equal scoring:

_Efficacy of solutions in terms of recognition, visual impact and communication; _Sustainability of the solution in physical and energetic terms; _Feasibility, transportability, ease of set up and dismantling; _Flexibility and adaptability in different contexts; _Consistency with the EXPO content and objectives.


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The projects The projects submitted met the design constraints expressed in the brief whilst

proposing different interpretations through material and formal choices belonging to individual design worlds and languages.

Simple in form, consisting of almost archaic elements such as stones placed on the roof reminiscent of country life, the “Pietre e Pane” (Stones and Bread) project by Andrea Branzi is a reflection on the “foundations of human life” to “illustrate the fusion between technology and anthropology” as defined in the description of the concept itself.

“For an audience not versed in the global food debate and the social/cultural implications, the extent and complexity of the issues present at the EXPO can stimulate a negative effect, caused by the suspicion of being faced with a scenario on the one hand too specialised and on the other with a mega gastronomic exhibition. To propose, therefore, to the public an immediate and attractive image of the EXPO, the “Pietre e Pane” project stems from the choice of an environmental communication strategy which highlights the true “anthropologic” base of the EXPO, without sacrificing the necessary programmatic and logistical information.”

The presentation of Michele De Lucchi, on the other hand, starts from a riddle, involving jury and public in the nascence of the concept: “through formal references ... think of a cave, a spaceship, a nave of the Duomo di Milano, the Broletto of Piazza Mercanti, the Hall “delle Asse” of Leonardo da Vinci in the Castello Sforzesco, a group of umbrellas, a bouquet of flowers .... an icon for EXPO”. The concept of Michele De Lucchi surprises the spectator, partly because of the method of presentation and partly due to the risky formal choices of a structure which simulates a forest of giant trees in the city. The trunks made of recycled aluminium are covered with wooden fruit crates taken from the surrounding markets, while the scale model of the Expo is each time presented in each square via a drawing on the ground by a pavement artist.

Figure 1 Michele De Lucchi project for Mobile Expo.

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“The Box”, the project by Park Associati, addresses a number of spatial problems by proposing a modular structure which can adapt to the dimensions of each square. The cube-‐shaped structure is composed of two parts which can be divided or presented as a single object. The structure made of tubular steel frames makes the object light and easy to assemble, while the innovation lies in the choice of covering fabric which, thanks to a play on refraction and transparency, changes the appearance of the installation during the day and at night. Inside there is an interactive bulletin board, a video wall and exhibition panels for interaction with users.

The concept of Migliore+Servetto, “A-‐Round”, is based on a very strong concept, interaction and dialogue with the surrounding context. This value is expressed by the formal choice of the object, the materials and the search for innovative ways of interaction with the user. The structure is doughnut-‐shaped: a “collector of energy, catalytic centre of attention and information. An organic transitable sign, conceived as a place open to dialogue with the public and to be added to the context”. The main surface consists of photovoltaic cells to ensure autonomy day and night, a surface which reflects the surrounding world which at night lights up. Innovative elements of the project are also the bench with free wi-‐fi access and the projection system inside the object.

All the projects submitted received the highest approval of the jury in terms of sustainability and consistency with Expo objectives, but the project by Michele De Lucchi struck the public (of the jury and that of the presentation seminar) for its emotional impact. Therefore, in terms of recognition, visual impact and communication, the latter received the highest score, while in terms of feasibility, portability and ease of assembly the concept had a number of critical issues which, however, were resolved in the engineering phase.

The first stage of the Expo Tour was Bologna where in piazza Maggiore the work of Michele De Lucchi accompanied the Planetary Table starting from Saturday, 20 October 2012; its journey will continue in the coming months in major Italian cities to introduce the theme of the Universal Exposition to all citizens.

Cluster International Workshop The Cluster International Workshop stems from the need to approach, define and

develop a complex project with contributions from various design disciplines (architecture, building engineering and design) joined together in a collective process. The 9 Cluster areas are one of the novelties of EXPO 2015. They provide visibility for those countries which do not participate in the event with their own pavilion but have been grouped depending on affinity of food production or territorial characteristics: Rice, Coffee, Cereals, Fruit and vegetables, Cocoa, Coffee, Spices, Sea and islands, Mediterranean bio climate.

17 international universities, 135 students and more than 90 professors and tutors actively participated in the development of 27 project proposals, 3 for each Cluster, a design activity in workshop mode was held from the 19th of September 2012 to the 8th of October 2012 inside the Bovisa Durando campus of the Politecnico di Milano.

The spatial design The Cluster areas are mainly distributed along the Decumano, the central avenue

which runs through the entire exposition site. There are various sizes hosting a variable


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number of countries (in total 80). The areas envisage an average of 30% of covered areas (for the pavilions) and 70% of open-‐air areas. In the outdoor areas, EXPO 2015 has envisaged space for exhibitions, events, catering and trade. Assembly and disassembly requirements dictate reduced timing satisfied by a dry construction technology which formally determines the volumes (with a certain compositional flexibility) but at the same time leaves freedom of action on the surfaces. Buffer zones overlooking the Decumano, square metres for pavilions (which depend on the number of countries participating in the Cluster) and functional distribution of covered areas (exhibition on the ground floor, offices on the first floor) complete the framework of project constraints. The output required had to be temporary, using tools and methods of a wider group of discipline that does not include only architecture and design so to generate innovative projects (Bishop, Williams. 2012:6).

The participated project The partnership between Politecnico di Milano and EXPO 2015 allowed construction

of the workshop programme starting from the need to have, in the same place, different skills to fulfil the design request. The first phase of the participatory project was focused on the identification of the partner schools crossing the design themes with international relations of the Politecnico di Milano and the quality of universities. In this first step, we have taken into account the data from the international rankings of universities (and where possible the specific ones on schools of design and architecture) and partnerships already activated. The relationships with the partner universities have been cataloged in:

-‐active: if established and active students and teachers exchange and if it has been at least one co-‐teaching or co-‐research action;

-‐semi-‐active: if the agreement is only based on students exchange; -‐passive: if the partnership did not generate any kind of flow of information,

students and/or teachers. From the identified grid we have then selected the geographical areas making

reference to the nine thematic areas of the cluster and then a number of universities that could be selected for participation in the workshop. This was compared with the specific discipline taught in the schools and in some cases by the specific teachers in order to obtain a refinement of the data that allowed the skimming of universities to be involved and the final choice.

Preparation of the working groups required then a wise balance of country of origin, subject area and aptitude for the project. The customer requested the development of 3 design outputs to be evaluated together with the countries belonging to the cluster areas in order to choose the one most suited to their needs and bring it, at the end of the workshop, to an advanced stage of development and implementation.

The 3 design solutions required 3 subgroups able to include the various design skills and which would ensure a balanced mix of Italian and foreign teachers and students. For Sanders and Steppers (2008, p. 9) the process of “co-‐creation in the development of a project can have an impact on the same with positive and long-‐term consequences”. The participatory framework which emerged reflected the complexity of a design process in which the top-‐down constraints were relegated to the technical/performance sphere, while leaving the narration of stories which could illustrate, through the set up of indoor and outdoor space, the cluster themes to bottom-‐up operational activities.

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The composition of the team led to a definition of the criteria for the selection of students to be involved depending on third didactic and scientific background. From a quantitative analysis on the last 5 academic years about the relationship student/teacher in similar didactic activities based on design studios, in the School of Design at the Politecnico di Milano, we have outlined a model of the composition of the team. It was concluded that 2 teachers every 5 students with the support of one tutor was the minimum size for the preparation of 1 project. Then 15 students and 6 teachers and 3 tutors were considered as a minimum unit.

The composition of the 5 students was made according to the criteria of disciplinary mix proportioned to the number of responses to a call for applications internally open to the involved architecture, engineering and design schools.

The teams were therefore composed as follows: -‐2 professors and 9 students from the Politecnico di Milano belonging to the subject

areas of architecture, design and building engineering, with particular attention to including those students of foreign nationality consistent with the countries belonging to the cluster in question;

-‐2 professors from 2 different international schools from countries not part of the cluster but related (in terms of production activity, expertise or geographic location) to the theme of the cluster in question. Each school was asked to select at least 3 students each;

-‐ senior and junior tutors at the discretion of the professors involved. A variety of cultures, languages, customs, ways of working, of representation and

sharing distinguished the 9 clusters, delineating them as what Fuad-‐Luke (2009, page 47 ) would define as "an opportunity for users, customers and designers to define the context, understand its problems and find effective solutions” which they built day after day up to the final submitted projects.

Figure 2 Research phase: collecting case studies.


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Construction of the programme In support of the work requested, a rich programme of lectures and tutorials on

specific subjects which provided a 360-‐degree view of the themes addressed was developed. In the 3 weeks of workshop students were offered a programme which included:

-‐ theoretical contributions ex-‐cathedra: the choice of subjects was made on the one hand through an analysis of the skills that would complement the involved subject areas (design, architecture and building engineering) and on the other by an identification of the content of other didactic areas that were attributable to the project. Contributor profiles were then defined. They were chosen in the field of agronomy, interaction design, culinary culture, food protection and management in the cultural field. These contributions have involved a variety of experts. From Marti Guixè to Kengo Kuma, from Carlo Cracco to Davide Rampello, from Michael Radtke to Slow Food, there has been a deep information enrichment and research background of the design teams. The lectures were concentrated in the first 10 days of the workshop to allow more time for the development of design solutions in the second and third weeks.

-‐ collateral activities: a visit to the EXPO 2015 site opened the day's work which continued with targeted inspections of specific areas (the rice fields of Lomellina for the Rice Cluster, the Venetian lagoon for the Sea and Islands Cluster, etc.) and to the new architectural landscape of the city of Milan (the Porta Nuova site, the new building of the Region, etc.). Finally, the multidisciplinary nature of the project was ensured thanks to specific contributions on the issues of interaction design (Stefano Mirti), agronomy (Stefano Bocchi), as well as by the constant presence of EXPO 2015 on technical issues related to the master plan of the site and by a team graphic artists for preparation of the final product.

Figure 3 Developing projects: model making phase

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The project outputs The 27 final projects represent a diverse framework of approaches, methods and

different skills. Accommodating the spatial/technological framework dictated by the customer, a number of lines of interpretation can be identified which enable grouping in several types:

-‐the interior/exterior relationship: through the design of an open space which also accommodates domestic activities (food consumption, dialogue in small groups) and which depicts the urban dimension, setting up squares, paths, events;

-‐the use of the metaphor, through the setting up of places which refer to a natural or anthropogenic coded language (the market square, the rice field, fruit tree groves, grain fields);

-‐ consumption of the artefact: through the use of instruments linked to the temporary nature which depict places changing with the passing of exposition days. Façades of pavilions which are revealed day after day, colours and materials which change with the seasons.

The goal to have, for the first time in the history of EXPO, 9 areas within a universal exhibition, designed by international students and faculty is then taking shape. According to the participatory design process applied to these 9 "meta-‐pavilion”, the various proposals are currently being considered by several countries which may express its opinion on the proposal considered most effective.

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References Bishop, Peter and Williams, Lesley. 2012. The temporary City. London: Routledge Bisi, Lucia. 2012. Feeding Milan. The History and Landscape of Food in the City. Milan:

Skira. Capitanucci, Maria Vittoria. 2009. Milano. Verso l’Expo. La nuova architettura. Milano:

Skira. Cibic, Aldo and Crippa, Maria Antonietta and Fusina, Sandro. 2009. Verso Expo Milano

2015. Milan: Electa Di Vita, Stefano. 2010. Milano Expo 2015. Un'occasione di sviluppo sostenibile. Milan:

Franco Angeli. Fuad-‐Luke, Alastair. 2009. Design Activism. London: Earthscan. Fusina, Sandro.2011. Expo. Esposizioni Universali da Londra 1851 a Roma 1942. Milan:

Il Foglio Giedion, Siegfried. 1981. Spazio, tempo, architettura. Milan: Hoepli. Kraus, Karl. “Die Wage” in Loos, Adolph.1972. Parole nel vuoto, Milan: Adelphi Sanders, Elizabeth and Stappers, Peter. 2008. ”Co-‐creation and the new landscapes of

design” CoDeisgn: International Journal of CoCreation in Design and Arts, 4:1, 5-‐18. Retrieved on 10/09/2012 from http://dx.doi.org/10.1080/15710880701875068

EXPO MILAN 2015 an international and multidisciplinary design experience with Politecnico di Milano

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