10.6092/issn.1973-9494/7958
Design, understood as the planning and realizing of a project for a complex, material or conceptual object, has acquired diversified meanings over the years. Among them, designer objects, expressed by the civilization that created them, bear witness to the close relationship existing between goods and works of art. Consequently, design, as an expression of creativity, is a point of convergence for beauty of form, technology and functionality and thus, for art and science.
application/pdf
1973-9494
7958
en
Lucio Colizzi
Conservation Science in Cultural Heritage
virtual/augmented reality
Design Between Art, Technologies and Science
Text.Serial.Journal
https://conservation-science.unibo.it/
17
Articles
2018-03-28
2018-03-27
2018-03-28
2019-09-06
211-221
CSCH
Lucio Colizzi
2017
10.6092/issn.1973-9494/7958
211
Centro di progettazione, design e tecnologie dei materiali (CETMA), Brindisi
1973-9494
virtual/augmented reality
en
221
Lupo, E. (2011) Design e beni culturali: creare sistemi di valore per connettere cultura, luoghi, conoscenza, comunità, impresa, ISSUU (available at: <a href="https://issuu.com/elelupo/docs/design_e_beni_culturali_elupo" class="uri">https://issuu.com/elelupo/docs/design_e_beni_culturali_elupo</a> - accessed 07/11/2017).
Design Between Art, Technologies and Science
https://conservation-science.unibo.it/article/download/7958/7678
17
D    ESIGN BETWEEN ART, TECHNOLOGY AND SCIENCE

   Salvatore Lorusso*16
   Dipartimento di Beni Culturali, Alma Mater Studiorum Università di Bologna
   Ravenna, Italy

   Lucio Colizzi*
   Centro di progettazione, design e tecnologie dei materiali (CETMA)
   Brindisi, Italy


   Keywords: creativity, beauty, technology, virtual/augmented reality


   1. Introduction

    The word design literally refers to the planning which forms the basis for the con-
struction / realization of a complex (not trivial!), material or conceptual object (from
buildings to garments) and in its more recent history, it was initially most often used to
deine industrial design or design in view of future industrial production. Design is also
used to deine the aesthetic proile of an artifact (e.g. an object can have a minimalist
design, characterized by clean essential lines) or the artistic current (or style) when
applied to the industrially produced object. Over the years it has acquired other mean-
ings deriving from the signiicant role it has gained in different ieldsμ social, cultural,
technical, economic and others.
    Today, the term ‘design’ has also come to be widely associated with art and crea-
tivity. εore speciically, perhaps erroneously, design is linked to quality products or




                                                                                                    CONSERVATION SCIENCE IN CULTURAL HERITAGE
those with much sought-after aesthetic characteristics. The ‘misuse’ of the word design
has consequently caused much confusion around its exact deinition, since it is often
used outside its initial context of design or industrial design, such as in referring to a
restricted category of manufactured goods belonging to a well-deined category of so-
phisticated design. A prime example is that of designer products often of high quality,
also in terms of cost and is frequently found in a variety of combinations which include,
fashion design, industrial design, graphic design, car design, building design, urban
project design, interior design, etc. As such it is linked to many creative sectors in a
multitude of ways.
    The primary deinition of design is, therefore, no longer valid.
    Nevertheless, design and creativity represent an indivisible binominal.
    The mix of meanings dates to the very beginning of industrial design itself with the
advent of industrial production and the appearance of the irst leading companies and
irst distinctive features. This led to the immediate parallelism between the anonymous
and the designer signed, in other words the cheap and the expensive. The “blame”
can be attributed, for the most part, to cases of branding, such as Made in Italy, with its
highly developed search for quality and remarkably noteworthy aesthetic taste, which



* Corresponding authors: salvatore.lorusso@unibo.it, lucio.colizzi@cetma.it

                                                                                              211
                                                                            has spread the term design, wrapped in high aesthetic and productive quality, through-
                                                                            out Italy and the world.
                                                                               It is therefore dificult to formulate a universally unanimous deinition of design, also
                                                                            because its history has become more and more complex with the passing of time,
                                                                            enriching the subject matter with multiform and cross-sectional theories (technology,
                                                                            sociology, anthropology, etc.). The main point is the meaning that it is given: “Design
                                                                            has become a sort of slogan, especially in marketing and in mass media, which seems
                                                                            to have a positive value in itself, transforming, with its eclectic and discriminatory use,
                                                                            commonplace products into exclusive and fashionable objects.” Thus, for example,
                                                                            “design furniture” can be contrasted with the industrially (not aesthetically) designed
                                                                            product [1].


                                                                               2. History of industrial design

                                                                                There is no well-deined date for the birth of industrial designμ its progress has
                                                                            been smooth, marked only by certain historical events, so the only way to deine it is
                                                                            to associate it with these events. It is enough to think about the transformations that
                                                                            have invested the ields of technology, manufacturing structures, and techniques of
                                                                            representation.
                                                                                Some argue that one can begin to talk about industrial design with the early industri-
                                                                            al revolution of the eighteenth century which took place in England and then expanded
S. Lorusso, L. Colizzi - Design between art, technology and science




                                                                            throughout the western world. Indeed, with the irst industrial revolution, the igure of
                                                                            the industrial-oriented designer came into being, but the image of industrial design as
                                                                            we know it today was not yet clearly deined. that is, a conglomerate of stylistic, con-
                                                                            ceptual and design knowledge transposed to ideologies and values (as well as stylistic
                                                                            personality and originality) that one wants to display with an industrial design product.
                                                                                Other critics argue that the date attributed to the birth of industrial design is that
                                                                            of the irst universal exposition, the Great Exhibition that took place in δondon from
                                                                            1 εay to 15 October in 1851. In this exhibition, for the irst time, one of the most
                                                                            important themes of industrial design was touched upon: the identity of the products
                                                                            that surround us. A considerable multitude of objects were collected for the Exhibition,
                                                                            especially of common use. As countries from all parts of the world participated, there
                                                                            was an immediate comparison between the diversities and similarities of everyday
                                                                            products which during the years had taken on forms and structures that sometimes re-
                                                                            sembled each other even in cultures that had never crossed each other’s paths. Many
                                                                            artists and new companies also took part, to present their products for the irst time in
                                                                            an internationally important exhibition event and to an audience that had come from
                                                                            different parts of the world. However, though industrial design had a solid foundation,
                                                                            other important events were needed to complete its formation and the development of
                                                                            industrial design also had to experience the inluence of many artistic-cultural move-
                                                                            ments and design schools.
                                                                                One of these was the Staatliche Bauhaus, which operated in Germany in the period
                                                                            between the two world wars (1919-1933) and was a decisive factor in the history of
                                                                            industrial design. This German state institute was born from a merger of the former
                                                                            Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art, bringing
                                                                            together the Fine Arts and the Applied Arts (a section for architecture was added later).
                                                                            The aim was to approach design in an integrated way and so bring together all forms


                                                                      212
of art and design, including architecture. Its students studied mass production, art and
craft, as well as new technologies. As a result of the all-round approach to design it
publicized and taught, design came to be considered a real and proper discipline in
itself for the irst time, inluencing future developments in art, architecture, graphic de-
sign, interior design, industrial design, and typography.
    Heir to the pre-war avant-garde, it was a school that also represented a fundamen-
tal point of reference for all the innovations in the ield of design and architecture linked
to rationalism and functionalism, part of the so-called modern movement. Its teachers
were of different nationalities, the foremost igures in European cultureν the school’s
didactic experience has profoundly affected teaching in the artistic and technical sec-
tors until today [2].
    After England and Germany, the third pillar of industrial design was Italy. The coun-
try contributed signiicantly to the world of design, especially in the ield of furnishing,
automobiles, motorcycles, navy and clothes, making Italian design a brand of quality:
Made in Italy. Indeed, at an international level for the irst time, particular attention was
given to planning, detail, imagination and form and durability, giving greater value and
importance to the design phase.


   3. The different areas of industrial design

   The ields of industrial design, though manifold, can be fundamentally linked to
three, often closely related to each other.
   •     Product design
   This is the largest industry since it deals with any physical object (but is sometimes
limited to the conceptual phase, prototype or simply to a stylistic exercise) found in
human surroundings and is generally part of the décor of different architectural or ur-
ban spaces. It includes all the disciplines inherent in the design of an object (furniture




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
design - automotive design - naval and nautical design - fashion design - packaging
design: product packaging makes it more inviting or easier to transport and use).
   •     Design of environments and spaces
   This branch of industrial design often works parallelly to two branches in archi-
tecture: interior and urban. The design of spaces deals mainly with the planning and
layout of indoor and outdoor environments.
   •     Communication design
   Communication design is developed alongside other branches of industrial design,
as the design of a inished product also includes its presentation. It intensiies and
enriches the product with many other technical particulars and the ever-increasing use
of communication systems, images (television, internet, mobile devices, social media)
and so on. The communication designer deals with the multiple presentation systems
of various industrial design products (e.g. graphics), as well as services and market-
ing through advertising and web site building; making the best use of their knowledge
they “reach” the target group and increase the attractiveness of the product for sale
or the service offered or succeed in transmitting a given message. As it is the branch
most inluenced by innovative virtual and graphic technologies, communication design
encompasses several subcategories, including, web design, interaction design (the
activity of designing interaction between human beings and mechanical and computer
systems), food design, etc.


                                                                                               213
                                                                               It is worth taking into consideration the meaningful and signiicant deinition of de-
                                                                            sign given by Antony Bertram in his book which, although dating back to 1938, still
                                                                            holds true:
                                                                                    “Good design is not a matter of wealth, much less of the chic, the latest thing.
                                                                                It is not a matter of novelty for the sake of novelty, but of the production of cities
                                                                                and houses and goods which will best satisfy the needs of people; their need of
                                                                                practical, honest, inexpensive, lasting and beautiful things to use and see in their
                                                                                everyday lives” [3].
                                                                               •     Agriculture / permaculture design
                                                                               A more recent declination of the “design” concept is used in the context of biological
                                                                            agronomic/crop systems managed in a natural way. To achieve the goal of minimiz-
                                                                            ing agronomic inputs and maximizing the capacity for resilience of the system, it is
                                                                            important to design sustainable human settlements and preserve and extend natural
                                                                            systems through continuous and adaptive design processes. It means implementing
                                                                            design aspects to maintain a cultivated ecology in any climate by studying principles of
                                                                            design and design methods; understanding patterns in nature and climate; examining
                                                                            water, soils and aquaculture; and the social, legal, and economic design of human set-
                                                                            tlement [4]. This set of practices is called permaculture (permanent agriculture) and
                                                                            one of the main assets of the sector is design [5].


                                                                               4. Merchandise promoted to works of art
S. Lorusso, L. Colizzi - Design between art, technology and science




                                                                               After the reform of the Ministry of Cultural Heritage Activities and Tourism, which
                                                                            modiied the old Ronchey law of 1λλ4, liberalizing the categories of products that could
                                                                            be sold in museums, hotels, large stations, cruise ships, airports and historic hotels,
                                                                            goods could be sold that were souvenirs, such as clothes, commonly used and de-
                                                                            signer objects, jewelry, food, small pieces of furniture, fabrics, respecting the identity of
                                                                            the place. Such marketing recognizes the design of the objects as a “value” that goes
                                                                            far beyond the economic one, transforming them into cultural goods themselves, seen
                                                                            as “materially testifying to a value for civilization”[6]
                                                                               It is therefore possible to propose some of the Made in Italy symbols by valorizing
                                                                            them as museum objects. εore speciically, they are designer objects, expressed by
                                                                            the “civilization” that created them, that “testify” to the union between merchandise and
                                                                            works of art.
                                                                               This recognition establishes a new technical and scientiic ieldμ one relating to the
                                                                            preservation of design objects which entails implementing activities that are “neces-
                                                                            sary to ensure their conservation and to prevent deterioration” as reported in the “Code
                                                                            of Cultural and Landscape Heritage” (Legislative Decree No. 42/2004) and so: “a co-
                                                                            herent, coordinated and programmed activity of study, prevention, maintenance and
                                                                            restoration” [7].


                                                                               5. Industrial design between art and science

                                                                              Recalling what Sergio Pininfarina, certainly one of the most signiicant and signii-
                                                                            cant personalities of Made in Italy design, was able to describe industrial design as a
                                                                            synthesis between art and science:


                                                                      214
      “Throughout the world today, the market demands a synthesis between beauty
   and functionality, between style and eficiency. This synthesis has therefore be-
   come the main professional challenge that a successful designer has to face. But
   that has not always been the case. When I started working - I speak of 50 years
   ago - projects mainly took into account economic and technical factors: the size
   of investments, ease of construction, production methods and the level of perfor-
   mance to be achieved: little value was given to aesthetics. Designers had very little
   say in anything, they only had to improve the look of what was prepared by the
   technicians; it is true that certain body builders created beautiful cars, but without
   any real inluence on large-scale productions. Only later, in the 1λ50s, did aesthetic
   appearance, then called styling, become more signiicant.”

    There are many factors, all of them equally important, that determine the success
of a product: from price to service, from technical characteristics to advertising. But if
we look at the essential reasons why some products have such a huge success which
lasts over time, one factor that is decisive and makes the difference, is their aesthetic
character.
    This applies to all products, such as cars, buses, trains, boats, planes, coffee ma-
chines, shoes, skis, phones, just to name a few. Nowadays every creative work has a
decisive artistic connotation: in modern society designers can be considered artists.
    Nowadays, styling is the most important and aggressive element in promoting sales.
    This, however, necessitates the aesthetic renewal of the product due to its obso-
lescence, eventually determining the absence of one of the signiicant features of an
industrial project: its duration across the years. Design has to favor functionality (pro-
duction costs, accessibility, aerodynamics, ergonomics, ever-increasing safety stand-
ards), including in this term all aspects of a project: aesthetics, technique, production
and use requirements.
    From a marketing point of view, an interesting aspect related to Made in Italy, can




                                                                                                   CONSERVATION SCIENCE IN CULTURAL HERITAGE
be found in the well-known fact that it is one of the world’s most recognizable brands.
In fact, from the Made-In-Country-Index (MICI) 2017 published by Statista (The Sta-
tistics Portal), Made in Italy came out 7th in terms of reputation amongst consumers
worldwide (with Germany at the top of the list, Spain twentieth and China in position
number forty-nine) [8]. Furthermore, according to a market study conducted in 2010 by
KPMG, a network of professional business services, Made in Italy is the world’s third-
best-known brand after Coca Cola and Visa [9].


   6. When Design joins ICT: an Italian centre

    CETMA (www.cetma.it), a European Research Center for Technologies, Design and
Materials, is a Research and Technology Organization (RTO) based in Brindisi, Italy.
It operates in the ield of advanced materials (composites, polymers, bio-based and
recycled materials), ICT (development of specialized software for innovative applica-
tions in engineering, in the ield of production and services) and product development
with non-proit activities, reinvesting all proits in research, training and technology
transfer projects.
    Design methods made possible by the computer industry have made an essential
contribution to manufacturing processes, even though it is human beings who have


                                                                                             215
                                                                            retained the noblest part: knowledge, creativity, judgment and acceptance. Until today,
                                                                            machines have provided answers to many questions posed by people.
                                                                               However, technology has taken a signiicant revolutionary step forward. The emer-
                                                                            gence of CAS - Computer Aided Styling - machines have not only helped the design
                                                                            process, they assist the designer’s creativity. Computer Aided Styling currently offers
                                                                            designers incomparably greater possibilities, allowing a project to be viewed from dif-
                                                                            ferent angles without even having begun to build a model (e.g. in its natural environ-
                                                                            ment and using numerous reference points, such as people or things). With the help of
                                                                            a purely mathematical model one can approach a design project in a way that would
                                                                            have been unimaginable in the past by presenting sensations similar to those that the
                                                                            end product will give us. This is possible as it provides the opportunity of seeing objects
                                                                            moving virtually in a natural environment thanks to dedicated frameworks for discrete
                                                                            event simulation (Fig. 1a - d).
S. Lorusso, L. Colizzi - Design between art, technology and science




                                                                            Figure 1. Virtual and augmented reality.

                                                                                This is the ield of virtual and augmented reality. The differences in method between
                                                                            today’s creative process with respect to those of the past are therefore immeasur-
                                                                            able, even though the fundamental principles have not changed. The guidelines in the
                                                                            design of a project are always aimed at achieving the following features: simplicity in
                                                                            its lines, function optimization, proportion of the masses, harmony between solids and
                                                                            voids, a technical-aesthetic ideal. All these aspects, naturally, combined to respect the
                                                                            functionality and composition of the materials used [10].


                                                                      216
    With this perspective in mind, CETMA orchestrates the skills of its three divisions,
namely Computer Engineering, Design and Materials Engineering and includes, within
its organization, Product Development, from concept generation to engineering, virtual
and physical prototyping, initiating production and assisting in the protection of the in-
novation.
    εore speciically, design-driven innovation is a strategic tool for any industry wishing
to engage in a context of growing competition. The application of research, therefore,
aims to interpret and develop new technological and productive opportunities so they
become new functional, formal and communicative qualities, to be transferred to the
“product system”. Cetma also uses its competences in graphic design and multimedia
production for application in a variety of different ields. Being aware that industrial
design contributes concretely to the technological and industrial culture of the territory,
the Territorial Delegation for Puglia and Basilicata (Delegazione Territoriale Puglia e
Basilicata) was set up and promoted as part of the national Association for Industrial
Design (ADI).
    The question then arises as to how a work of art (or a design object) can be con-
ceived and realized through Computer Aided Styling (CAS), that is, virtually, rather
than being executed using artistic techniques. This is especially true when referring
to contemporary art, where alternative and innovative materials and products are of-
ten employed. A work created or reproduced in this way is still the result of creativity
however: but at this point, aspects regarding ethics, unreproducibility and economic-
inancial issues come into play.


   7. Using design to valorize cultural heritage: value systems to connect his-
   tory, culture, places, knowledge, communities, businesses

    The valorization of cultural heritage today is a privileged asset for the sustainable




                                                                                                    CONSERVATION SCIENCE IN CULTURAL HERITAGE
development and innovation of the country. The collective enjoyment of culture has
evolved, alongside the tertiary sector of services and experiences, towards increasing
the moments and opportunities for appropriation and access to cultural goods, prod-
ucts, services and activities.
    Keeping in mind this line of reasoning and in agreement with recommendations laid
down by the European Union and UNESCO, culture-oriented development models
promoted by design projects aim to generate, activate and increase the value of cultur-
al assets in their historical, civil, symbolic and social functions and are directed toward
developing platforms and connectivity. This will in turn aid territories and communities
to communicate effectively through culture and knowledge, as well as redeining rela-
tions between local and global tradition and innovation, whether public or private.
    The opportunity to valorize cultural heritage provides a strategic objective for de-
sign to revive the image and international competitiveness of Made in Italy. This can
be achieved through networking and strengthening the “cultural heritage” chain which
involves the producers and users of technologies who participate in the various phases
of the life cycle of the cultural assets, from knowledge to conservation, economics and
management to safety and security and fruition.
    For these aspects to converge positively, the following points should be implement-
ed:
    •    the transformation (or rather broadening) of the concept of “cultural good”,


                                                                                              217
                                                                                understood as a complex cultural system of a territory and community, from
                                                                                a cognitive, social and symbolic dimension: from traditional cultural artistic,
                                                                                monumental, demo-anthropological, archaeological and environmental herit-
                                                                                age to territorial and urban systems, to immaterial cultural heritage (knowl-
                                                                                edge, practices and expressions), to cultural sites and venues for events. It is
                                                                                possible to identify in this model, the different functions of the cultural asset:
                                                                                institutional (in terms of institution and inalienability), civil (in terms of forma-
                                                                                tion and identity), social (in terms of integration and participation), develop-
                                                                                ment (as a dimension of development rather than leverage and therefore
                                                                                generate, as a consequence and not as an objective, economic and social
                                                                                growth) (Fig. 2);
S. Lorusso, L. Colizzi - Design between art, technology and science




                                                                            Figure 2. Web technologies for connecting cultural heritage and territorial resources.

                                                                            •   the evolution of design practices: design, traditionally associated with the con-
                                                                                crete design of technological, performance, aesthetic, communicative compo-
                                                                                nents of common use, has, in relation to the transformations that have taken
                                                                                place in the context of consumer goods, progressively expanded its range of
                                                                                skills, reining its strategic vision of consumer scenarios and its sensitivity to-
                                                                                wards the signiicance of consumer behavior by coniguring what is now termed
                                                                                as a system-product, i.e. service and communication components associated
                                                                                with the product. Design, apart from simply designing objects, suggests inter-
                                                                                pretations, meanings, procedures relating to social, economic, technological,
                                                                                and productive systems. This means it has also progressively drawn closer to
                                                                                the “immaterial” component of processes that underpin the world of design and
                                                                                cultural goods, developing unprecedented synergies.
                                                                            •   Information technologies, the Internet of Things (IOT) and Design as tools for
                                                                                emotional visits.
                                                                                Tourist guides are now realizing that it is no longer possible to conceive a visit
                                                                                to a cultural container simply as a walk-through, where an expert conveys facts
                                                                                about the art works on display. These elements of knowledge are now available
                                                                                in all smartphones connected to the internet. Using design, information tech-
                                                                                nologies, connectivity, visual systems, interactivity, all integrated opportunely
                                                                                to sell an emotion and connect it to personal interests in a sort of visit that ex-
                                                                                tends elements of knowledge to the surrounding area (food and wine, cinema,
                                                                                theater, environment, etc.), today represents an important lever to give cultural
                                                                                heritage a more signiicant position in creating value for a nation [11].



                                                                      218
Figure 3. Virtual Reality Set – Ambient εuseum – δecce, Italy.

    Following the evolution of the concept of cultural heritage as an asset belonging to
a person/persons and/or having a place/places in society or has merit (i.e. that has a
value in itself according to a typically capitalist conception) or as an asset to be ex-
ploited (of which a primary value is its recognized use), together with the innovation of
theoretical-applicative experimental ields within the different disciplines, design focus-
es on processes that generate value from cultural heritage as a system and as an ex-
perience. Design within the context of cultural heritage therefore proposes a “systemic”
vision, capable of transforming strategic choices regarding its protection, valorization
and management, into concrete projects of knowledge, organization and experience
of the asset and its incorporation and contextualization in the contemporary world [12].


   8. Conclusion




                                                                                                         CONSERVATION SCIENCE IN CULTURAL HERITAGE
    In conclusion, in this case, design is fundamentally correlated to Italian creativity,
due to a tradition of Italian artistic genius. Italy is a country that is particularly congenial
to creative activity and draws strength from an ancient tradition that is deeply rooted
in its culture and which produced the Renaissance workshops, as well as the many
scientiic studies carried out by the artists-scientists of that period.
    The excellence of Italian design and style is universally recognized, becoming sym-
bols of creativity and innovative quality, from which has emerged the myth of Made in
Italy. At the Museum of Modern Art in New York, in the section dedicated to industrial
design, many of the permanent exhibits are Italian masterpieces. For example, Mario
Bellini’s CAB armchair (1978), the “Atollo” table lamp by Vico Magistretti (1977), the
“Valentine” typewriter (1969) designed by Ettore Sottsass for Olivetti, the “Mirella” sew-
ing machine (1957) designed by Marcello Nizzoli for Necchi and lastly, the Cisitalia 202
GT(1λ46) - the irst car to be exhibited as an art object.
    In short, design has to endow an object with beauty and aesthetic personality, to im-
prove the quality of life for the purpose of rendering objects more functional, to become
an element of economic development, a decisive factor in the commercial success of
a product.
    Design has, furthermore, a highly valuable cultural function: it can help to not repeat
the mistakes made in the past by the more industrialized nations when very often cul-
tural and ecological values were sacriiced for the sake of progress to the development
of cultural and ecological values and, consequently, principles of eco-sustainability,

                                                                                                   219
                                                                            ethics and aesthetics. Design is the precise meeting point between beauty of form,
                                                                            technology and functionality and therefore, between art and science.


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                                                                                  Biographical notes

                                                                              Salvatore Lorusso is a former full Professor of the University of Bologna. He is
                                                                            Foreign Member of the Russian Academy of Natural Sciences; Emeritus Professor of


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the Cultural Heritage Institute of Zhejiang University, China; Visiting Professor of the
Academy of Social Science of Zhejiang University, China; Visiting Professor of the
Faculty of Arts, Lomonosov Moscow State University, Russia; former Vice-president
and now, a Councilor of the Società Italiana per il Progresso delle Scienze (SIPS - es-
tablished in 1839). His biography appears in the 2016 Marquis Edition of Who’s Who
in the World. He is the founder and director of two book series relating to the speciic
issues pertaining to the sector of cultural and environmental heritage. He is the author
of over 420 publications in national and international journals and of 22 volumes and
monographs covering commodity science, cultural heritage and environment. In 1997,
he founded the Diagnostic Laboratory for Cultural Heritage at the Ravenna Campus of
the University of Bologna and remained head of the Laboratory for eighteen years. His
scientiic work deals mainly with the study of the “systemμ artifact-environment-biota”
and diagnostic, analytical, technical and economic evaluation within the context of the
protection and valorization of cultural and environmental heritage.

   Lucio Colizzi is an Information Technology engineer. After many years of experi-
ence in ICT, robotics, Virtual Reality and data processing and modeling, in 2001 he be-
came the ICT department Director of CETMA. He has co-ordinated important national
research programs and in the last ten years has also been coordinator on several pro-
jects in the ield of development of technologies for cultural heritage. He has obtained
many post-graduate qualiicationsμ BPR, Concurrent Engineering and Quality Function
Deployment, STEP –ISO 10303, Simple ++, eM-Plant, eM-Planner, Informix Dynamic
Server Administration and Performance Tuning, Design for Manufacturing & Assembly,
Object Oriented design with Uεδ, εicrosoft certiicationsμ C#, ADO.NET, ASP.NETν
XML Web Services.NET; PROJECT MANAGEMENT (Bocconi University). As a result
of his many interests he has taught “Project Management and Group Dynamics” as
Adjunct Professor at the universities of Bologna and Lecce.




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
    Summary
    Design, understood as the planning and realizing of a project for a complex, mate-
rial or conceptual object, has acquired diversiied meanings over the years. Among
them, designer objects, expressed by the civilization that created them, bear witness to
the close relationship existing between goods and works of art. Consequently, design,
as an expression of creativity, is a point of convergence for beauty of form, technology
and functionality and thus, for art and science.

   Riassunto
   Si fa presente come il design, quale attività di progettazione e realizzazione di un
oggetto complesso, materiale o concettuale nonché di un disegno industriale, abbia
acquisito nel corso degli anni ben altri signiicati. E, fra questi, gli oggetti di designer,
espressi dalla civiltà che li ha ideati, a testimoniare il connubio fra merce e opera
d’arte. Ne consegue che il design, quale espressione di creatività, è punto di incontro
di bellezza della forma, tecnologia e funzionalità e, quindi, di arte e scienza.




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