Marco Mancini
Architect, PhD (Ph.D.) in Design, Assistant Professor in Design at University of Ferrara, Department of Architecture.
Since 2005 he has been teaching and researching at the university level in the fields of product design, innovation theory, design, and technology for industrial design, focusing in particular on design for cultural heritage, product and exhibition design for urban spaces, and design for musical industry and events; he has taught in bachelor's and master's degree courses at the University of Florence, University of Ferrara, Academy of Fine Arts in Florence, Academy of Fine Arts in Macerata and Superior Institute for Artistic Industries (ISIA) in Pescara. He has been a research fellow and lecturer at the Master in Interior Design at the University of Florence. He is a Visiting Professor at the NUAA Nanjing University of Aeronautics and Astronautics, and at the Dongguan University of Technology, China. He is an ordinary member of the Italian Design Society (SID) and a member of the Italian Standards Organisation UNI National Commission No. 10 - TC/33 "Products, processes, and systems for the building body", representing the National Council of Architects.
He is a speaker at international conferences including Cumulus - Global Association of Art and Design Education and Research, European Academy of Design (EAD), European Research on Architecture and Urbanism (EURAU), Information and Research on Reconstruction (i-Rec). He has published for Taylor& Francis, Palgrave Macmillan, DIID, Franco Angeli, Carocci editor, and other scientific and A-class journals.
He participates in inter-university research and development projects with European, national and regional funds. He has designed installations and temporary set-ups for exhibitions of international relevance, including Pitti Immagine - Florence. He is a qualified Design and Innovation consultant for the public and private sectors. He is a Technical Consultant and Expert at the Justice Court of Arezzo. He holds patents and design filings in the field of design for the music industry and in cultural heritage protection.
He is a jazz pianist, composer, and songwriter registered with SIAE. Under the pseudonym Mancinix he has published albums and singles of his own original songs.
Since 2005 he has been teaching and researching at the university level in the fields of product design, innovation theory, design, and technology for industrial design, focusing in particular on design for cultural heritage, product and exhibition design for urban spaces, and design for musical industry and events; he has taught in bachelor's and master's degree courses at the University of Florence, University of Ferrara, Academy of Fine Arts in Florence, Academy of Fine Arts in Macerata and Superior Institute for Artistic Industries (ISIA) in Pescara. He has been a research fellow and lecturer at the Master in Interior Design at the University of Florence. He is a Visiting Professor at the NUAA Nanjing University of Aeronautics and Astronautics, and at the Dongguan University of Technology, China. He is an ordinary member of the Italian Design Society (SID) and a member of the Italian Standards Organisation UNI National Commission No. 10 - TC/33 "Products, processes, and systems for the building body", representing the National Council of Architects.
He is a speaker at international conferences including Cumulus - Global Association of Art and Design Education and Research, European Academy of Design (EAD), European Research on Architecture and Urbanism (EURAU), Information and Research on Reconstruction (i-Rec). He has published for Taylor& Francis, Palgrave Macmillan, DIID, Franco Angeli, Carocci editor, and other scientific and A-class journals.
He participates in inter-university research and development projects with European, national and regional funds. He has designed installations and temporary set-ups for exhibitions of international relevance, including Pitti Immagine - Florence. He is a qualified Design and Innovation consultant for the public and private sectors. He is a Technical Consultant and Expert at the Justice Court of Arezzo. He holds patents and design filings in the field of design for the music industry and in cultural heritage protection.
He is a jazz pianist, composer, and songwriter registered with SIAE. Under the pseudonym Mancinix he has published albums and singles of his own original songs.
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Papers by Marco Mancini
For access control, it may be advantageous to use new management technologies related to security, such as artificial intelligence systems (already in use at airports) to remotely check for temperature, presence of animals or illicit objects; or automatic QR code detection systems to check tickets, thus reducing the need for operators. Control logarithms could automatically open or close certain entrances based on incoming users and direct flows (as is presently done in strategic traffic-light management). The challenge is to use new technologies without negatively impacting the emotional component elicited by the event. Design choices (e.g., space and furniture design and choice of materials) must ensure safety without alienating participants.
In consideration of the issues pertaining to the 2030 agenda, a sustainable management of big events can contribute to the achievement of many goals. The paper explore the high potential of design discipline in projecting, managing and innovating a sustainable event.
expectations and disseminates the latest frontiers of design
research, and the sphere of industry, where they are filtered
and introduced into the market, there is a relationship of
mutual exchange and influence.
In the music industry, this relationship seems to have
remained at an embryonic stage: companies are researching
and investing in new products, effectively applying many
of the contemporary topics of design research (usability,
interaction, ergonomics, technology, user-centred) without
the academic world, literature, and design exhibitions have
truly become aware of the enormous potential of this area, in
which the economic interests are strong (the users of music
include all the people on the planet) and generate a close
competition between companies.
The analysis of case-studies of innovative musical
instruments and the project for a new speaker stand thus
become an opportunity to demonstrate the advantage of a
design approach in this important area.
performers, management, radio, television, digital music services, music retail, live music events, music merchandising, music
schools… Design for the music industry, therefore, includes products of many categories: musical instruments, stage accessories,
speakers, amplifiers, control systems, bags, stands, and many more. The project of a new speaker stand thus becomes an opportunity
to demonstrate the advantage of a design approach in a functional field, which is usually not design-oriented. The design research
generated an innovative patented stand, safer, without clutter inside, and with greater attention to aesthetic value.
two terms. This is more significant if we apply a cross-disciplinary point of view to read the contemporary scenario where processes
related to product design innovation are developed. Design is not only what teachers and professionals intend about it: it is very
important, at the same time, the meaning of design for the “outside world”, for users, customers, buyers, … According to its positive
perception, society and economy now confers the Design discipline a leading role, but it can reasonably be expected that, at the same
speed of its development, the importance of Design could one day start to decrease. The methodology used in the present article is an
etymological analysis, associated with a lecture of what experts mean about Design and Innovation. A case study and the didactical
experience of the author supported the conclusion.
approfondire il tema del consolidamento delle volte in muratura, con particolare riferimento alle opere
preliminari all’intervento di ripristino strutturale vero e proprio. Vi è infatti una fase in cui è prioritario
mettere in sicurezza la volta per scongiurare possibili rischi. Tale fase è temporaneamente intermedia
tra la rilevazione e l’aggravarsi di lesioni e il progetto di ristrutturazione e consolidamento. Pur essendo
opere provvisionali si tratta di interventi destinati a edifici che spesso sono pubblici e quindi destinati a
un’ampia platea di fruitori, come scuole, uffici o edifici monumentali. Consentono di dilatare i tempi del
progetto e dell’intervento di consolidamento e mantenere la funzionalità degli spazi.
Nell’analizzare tecniche e sistemi di tipo tradizionale impiegati in casi analoghi è emersa la possibilità
di sviluppare aspetti evolutivi rispetto alle semplici tecniche di puntellamento. Nell’ambito dell’opera di
consolidamento, e quindi strutturale, è possibile conciliare i requisiti statici con le tecniche di progetto
tipicamente architettoniche attente alla qualità degli interni e all’integrazione dell’opera provvisionale
con il contesto di riferimento.
La necessità di trovare risposte non scontate a questa domanda ha generato un lavoro di ricerca che ha cercato di esplorare i possibili punti di vista del concetto innovazione connessi al mondo del Design. La prima parte della ricerca, fondata su una conferma di tipo quantitativo in merito alle aree di competenza, prosegue con l’approfondimento di alcuni concetti primari quali creatività, sintesi, intuizione, … e si conclude con una proposta di classificazione delle forme di innovazione pensata, in analogia con le prerogative del Design, in maniera multidisciplinare.
La seconda parte approfondisce lo scenario contemporaneo quale fattore stesso di generazione di attese in tema di innovazione, analizzando ad esempio il rapporto tra Psike e Tekne, il tema della complessità della società, la maniera in cui l’uomo si approccia all’innovazione,…
Nella terza parte del lavoro viene proposta l’introduzione del parametro di resistenza di un prodotto all’interno della teoria dell’innovazione, individuando alcuni fattori di Grip (tecnologici, formali, valoriali, economici, produttivi, ambientali, sociali, …) che permettono di soddisfare i requisiti richiesti dallo scenario contemporaneo. L’intento è proporre, anche agli studenti di design, un approccio all’innovazione modulato sulle prerogative della nostra disciplina, quindi soprattutto con una attitudine di tipo umanistico piuttosto che con la finalità di rincorrere performance di risultato.
the Fortezza da Basso, Florence, three macroinstallations
were realized, at different times, for
Pitti Uomo Expo. They are globally known events,
with a very rapid consumption: the report of these
experiences becomes an opportunity to reflect
on architectures with ephemeral features and
about their important role in remarkable media
events. If once “architectures were long-lasting
human works” because they were expected to
be “the earthly extension of their creator’s life”,
nowadays it is licit to consider as architecture
also that ephemeral one.“Ephemeral, light,
transparent, fast, immediate, … they are some
features of many daily subjects. Architecture, as
the art of the contemporary representation, is
forced to face these features”
violin, made four centuries ago?
In our liquid society, where many design products as fluid «flow,
overflow, spread, […] trickle, drip, leak» (Baumann, 2002, p.
XXII), that is they follow customs, practices, market trends, they
change style according to business approaches, … the acoustic
musical instruments seem to remain indifferent to concepts of
addition and subtraction. For them, the result is always zero, they
are balanced in shape, function, materiality, lightness, heaviness,
wrapper and content. In the contemporary world, many other
products include advanced technology, right material choice,
perfection in construction, for example, some cars, some new
smartphones, … but they have a common feature: they are not
of a lasting nature, their usefulness decreases as their meaning
does, because of natural aging (when the engine, the fuel, the
legislation change, a car loses its meaning) or because of forced
obsolescence techniques (Latouche, 2015). The acoustic musical
instruments are archetypes where the necessary modifications,
over time occurred, added value contributing to their re-actualization,
in a peculiar way that rarely can be found in other product
categories. These extremely communicative objects (music is the
most universal form of communication) express their objective
beauty through their completeness and, beyond social concerns,
human tragedies, historic changes, linguistic evolutions they manifest
themselves as a masterful example of “pure” design.
nello spazio: in base alle caratteristiche (lunghezza,
ampiezza,…) delle loro forme d’onda, esse generano
quelli che noi percepiamo come suoni e/o rumori . Lo spazio,
in senso fisico, è capace di incrementarne il volume (lo
spazio di una cassa armonica, ad esempio quella di una
chitarra), di favorirne la propagazione (lo spazio dell’auditorium
o del teatro), di regolarla e di smorzarla (lo spazio
di una sala di registrazione), di annullarla (lo spazio di una
camera anecoica). Certi tipi di spazio sono legati a tipologie
specifiche di musica (la musica da camera, la musica
liturgica). Lo stesso spazio esterno, aperto e non modificato
artificialmente, può divenire luogo di peculiari espressioni
musicali (i tamburi tam tam africani ma anche i canti jodel
alpini capaci di sfruttare il naturale eco delle montagne).
For access control, it may be advantageous to use new management technologies related to security, such as artificial intelligence systems (already in use at airports) to remotely check for temperature, presence of animals or illicit objects; or automatic QR code detection systems to check tickets, thus reducing the need for operators. Control logarithms could automatically open or close certain entrances based on incoming users and direct flows (as is presently done in strategic traffic-light management). The challenge is to use new technologies without negatively impacting the emotional component elicited by the event. Design choices (e.g., space and furniture design and choice of materials) must ensure safety without alienating participants.
In consideration of the issues pertaining to the 2030 agenda, a sustainable management of big events can contribute to the achievement of many goals. The paper explore the high potential of design discipline in projecting, managing and innovating a sustainable event.
expectations and disseminates the latest frontiers of design
research, and the sphere of industry, where they are filtered
and introduced into the market, there is a relationship of
mutual exchange and influence.
In the music industry, this relationship seems to have
remained at an embryonic stage: companies are researching
and investing in new products, effectively applying many
of the contemporary topics of design research (usability,
interaction, ergonomics, technology, user-centred) without
the academic world, literature, and design exhibitions have
truly become aware of the enormous potential of this area, in
which the economic interests are strong (the users of music
include all the people on the planet) and generate a close
competition between companies.
The analysis of case-studies of innovative musical
instruments and the project for a new speaker stand thus
become an opportunity to demonstrate the advantage of a
design approach in this important area.
performers, management, radio, television, digital music services, music retail, live music events, music merchandising, music
schools… Design for the music industry, therefore, includes products of many categories: musical instruments, stage accessories,
speakers, amplifiers, control systems, bags, stands, and many more. The project of a new speaker stand thus becomes an opportunity
to demonstrate the advantage of a design approach in a functional field, which is usually not design-oriented. The design research
generated an innovative patented stand, safer, without clutter inside, and with greater attention to aesthetic value.
two terms. This is more significant if we apply a cross-disciplinary point of view to read the contemporary scenario where processes
related to product design innovation are developed. Design is not only what teachers and professionals intend about it: it is very
important, at the same time, the meaning of design for the “outside world”, for users, customers, buyers, … According to its positive
perception, society and economy now confers the Design discipline a leading role, but it can reasonably be expected that, at the same
speed of its development, the importance of Design could one day start to decrease. The methodology used in the present article is an
etymological analysis, associated with a lecture of what experts mean about Design and Innovation. A case study and the didactical
experience of the author supported the conclusion.
approfondire il tema del consolidamento delle volte in muratura, con particolare riferimento alle opere
preliminari all’intervento di ripristino strutturale vero e proprio. Vi è infatti una fase in cui è prioritario
mettere in sicurezza la volta per scongiurare possibili rischi. Tale fase è temporaneamente intermedia
tra la rilevazione e l’aggravarsi di lesioni e il progetto di ristrutturazione e consolidamento. Pur essendo
opere provvisionali si tratta di interventi destinati a edifici che spesso sono pubblici e quindi destinati a
un’ampia platea di fruitori, come scuole, uffici o edifici monumentali. Consentono di dilatare i tempi del
progetto e dell’intervento di consolidamento e mantenere la funzionalità degli spazi.
Nell’analizzare tecniche e sistemi di tipo tradizionale impiegati in casi analoghi è emersa la possibilità
di sviluppare aspetti evolutivi rispetto alle semplici tecniche di puntellamento. Nell’ambito dell’opera di
consolidamento, e quindi strutturale, è possibile conciliare i requisiti statici con le tecniche di progetto
tipicamente architettoniche attente alla qualità degli interni e all’integrazione dell’opera provvisionale
con il contesto di riferimento.
La necessità di trovare risposte non scontate a questa domanda ha generato un lavoro di ricerca che ha cercato di esplorare i possibili punti di vista del concetto innovazione connessi al mondo del Design. La prima parte della ricerca, fondata su una conferma di tipo quantitativo in merito alle aree di competenza, prosegue con l’approfondimento di alcuni concetti primari quali creatività, sintesi, intuizione, … e si conclude con una proposta di classificazione delle forme di innovazione pensata, in analogia con le prerogative del Design, in maniera multidisciplinare.
La seconda parte approfondisce lo scenario contemporaneo quale fattore stesso di generazione di attese in tema di innovazione, analizzando ad esempio il rapporto tra Psike e Tekne, il tema della complessità della società, la maniera in cui l’uomo si approccia all’innovazione,…
Nella terza parte del lavoro viene proposta l’introduzione del parametro di resistenza di un prodotto all’interno della teoria dell’innovazione, individuando alcuni fattori di Grip (tecnologici, formali, valoriali, economici, produttivi, ambientali, sociali, …) che permettono di soddisfare i requisiti richiesti dallo scenario contemporaneo. L’intento è proporre, anche agli studenti di design, un approccio all’innovazione modulato sulle prerogative della nostra disciplina, quindi soprattutto con una attitudine di tipo umanistico piuttosto che con la finalità di rincorrere performance di risultato.
the Fortezza da Basso, Florence, three macroinstallations
were realized, at different times, for
Pitti Uomo Expo. They are globally known events,
with a very rapid consumption: the report of these
experiences becomes an opportunity to reflect
on architectures with ephemeral features and
about their important role in remarkable media
events. If once “architectures were long-lasting
human works” because they were expected to
be “the earthly extension of their creator’s life”,
nowadays it is licit to consider as architecture
also that ephemeral one.“Ephemeral, light,
transparent, fast, immediate, … they are some
features of many daily subjects. Architecture, as
the art of the contemporary representation, is
forced to face these features”
violin, made four centuries ago?
In our liquid society, where many design products as fluid «flow,
overflow, spread, […] trickle, drip, leak» (Baumann, 2002, p.
XXII), that is they follow customs, practices, market trends, they
change style according to business approaches, … the acoustic
musical instruments seem to remain indifferent to concepts of
addition and subtraction. For them, the result is always zero, they
are balanced in shape, function, materiality, lightness, heaviness,
wrapper and content. In the contemporary world, many other
products include advanced technology, right material choice,
perfection in construction, for example, some cars, some new
smartphones, … but they have a common feature: they are not
of a lasting nature, their usefulness decreases as their meaning
does, because of natural aging (when the engine, the fuel, the
legislation change, a car loses its meaning) or because of forced
obsolescence techniques (Latouche, 2015). The acoustic musical
instruments are archetypes where the necessary modifications,
over time occurred, added value contributing to their re-actualization,
in a peculiar way that rarely can be found in other product
categories. These extremely communicative objects (music is the
most universal form of communication) express their objective
beauty through their completeness and, beyond social concerns,
human tragedies, historic changes, linguistic evolutions they manifest
themselves as a masterful example of “pure” design.
nello spazio: in base alle caratteristiche (lunghezza,
ampiezza,…) delle loro forme d’onda, esse generano
quelli che noi percepiamo come suoni e/o rumori . Lo spazio,
in senso fisico, è capace di incrementarne il volume (lo
spazio di una cassa armonica, ad esempio quella di una
chitarra), di favorirne la propagazione (lo spazio dell’auditorium
o del teatro), di regolarla e di smorzarla (lo spazio
di una sala di registrazione), di annullarla (lo spazio di una
camera anecoica). Certi tipi di spazio sono legati a tipologie
specifiche di musica (la musica da camera, la musica
liturgica). Lo stesso spazio esterno, aperto e non modificato
artificialmente, può divenire luogo di peculiari espressioni
musicali (i tamburi tam tam africani ma anche i canti jodel
alpini capaci di sfruttare il naturale eco delle montagne).
particular music? How many times, in their creative moments, musicians are
inspired by the place or the room where they are playing?
As musician and architect, I wonder if my mindset is different while practicing
the one or the other profession. Unexpectedly, I found out many similarities
between a musician and a designer, in the importance of personality, technique,
listening skill, influences of environment and society, until the verification that
both architecture and music are mainly imposed to other people, without choice.