Giuliana Di Mari

This paper describes the innovative work that has led to the publication of the architectural and tourist-cultural guide MoMoWo. Women ž Architecture & Design Itineraries across Europe. The guide is one of the main results of the four-year European project MoMoWo ž Women's creativity since the Modern Movement, co-funded by the programme Creative Europe and devoted to women in construction, a sector in which the traditionally invisible female gender has encountered more difficulties than in others. The itineraries have been developed with the aim of disseminating the work done by women and spreading more information on the accessibility of the area, the buildings and the works created by women. Through sustainable mobility on foot, by bicycle or public transport, several tourist routes have been planned that are representative on the characteristics of the city and that recreate a sort of open-air museum defined, among other things, by reused buildings. Within the guide, the city that has most enhanced its industrial identity is Turin. It was the archetypal industrial city, but in recent decades it has become one of those European cities that has significantly changed its urban landscape. The third itinerary of the Turin section leads to the rediscovery of this industrial heritage transformed by the women designers into a path that includes relevant symbols for the city such as the Thermal Power District Heating Plant, the “Toolbox” and the Fonderie Limone. The combination of industrial heritage and women designers is also present in the other cities of the guide, which give a valuable research contribution. Defining markets as workplaces and therefore part of the industrial heritage, the incredible recovery example of the Saint Catherine’s Market in Barcelona is reported, as well as the Underdogs Art Store located in the Mercado da Ribera in Lisbon, or even the Market Hall Ceiling Painting in Rotterdam. Mention should be added to the project for the D’Orsay Museum in Paris

For more than fifty years Ivrea has been the expression of the most current Italian architectural culture but, assuming a concept of urban identity that changes over time, the city is transformed through the constantly evolving relationship between the objective values of the heritage and the subjective values perceived by the population. Ivrea represents an unusual model of an industrial city and imposes itself as an alternative answer to the questions raised by the fast evolution of industrialisation processes. The outcome of Olivetti's vision and socio-cultural project, it represents the real innovation of Italy in the 20th century. As a consequence of the decline of the Olivetti factory, the city suffered a huge blow that had serious economic repercussions on the territory. Heritage had to be able to participate in the transformations that would impact the fabric and life of the city, through appropriate reuse and adaptation to housing standards. The turning point in the inevitable decline was the creation of an important open-air museum, made up of Olivetti's architecture disseminated throughout the urban fabric. The MaAM (Museo a cielo aperto dell'Architettura Moderna) has been the impulse for a collective awareness to preserve the uniqueness of this heritage and its protection, collected and valued by the urban plan that has made its own values, relaunching the informative and educational function in a path that is destined to be constantly renewed. On this itinerary there are examples of industrial architecture, residences and social services designed by the most important Italian architects of the 30s and 60s.
Ivrea is an example of territory and enterprise in an inseparable organic unit, embodying human, environmental and architectural values, and for these reasons has finally been recognized as "Ivrea Città Industriale del XX secolo" of UNESCO's world heritage.

Ivrea is an archetypal example of an industrial city unique in both its intentions and architectural results.
The contribution aims reading the history of Ivrea through its three seasons: from the Olivetti’s experience to the industrial crisis and the related termination of the production system, up to the recent application and subsequent recognition as a UNESCO World Heritage Site.
An exceptional building laboratory that involved the most innovative architects of the time, Ivrea experienced its first season enhanced by a sense of community - «Comunità» was also the title that Adriano gave to his magazine - and by its sound connections with the surrounding area.
It is this sense of belonging that constitutes the value of the uniqueness of this experience.
The disposal of the industrial heritage, due to the inevitable crisis of the production system, required the consideration of the tangible heritage of this period of thought, the methods for preservation and enhancement, the elements of residual quality and the highly innovative content of the “untested experimentation”.
In this context, the experience of the Museo a cielo aperto delle Architetture Moderne olivettiane (MaAM, 2001) is based. The museum has definitely been the impulse for a collective awareness towards the preservation and protection of this heritage through the design of guidelines for the management of transformations. This initiative has been included and enhanced by the urban plan, which adopts its values, launching its dissemination and educational purpose in a process set for an in-progress renewal.
In 2008 the candidature was submitted and let to the recognition by UNESCO in 2018 as “Industrial City of the Twentieth Century” thanks to its peculiarities founded on a social and productive system inspired by the community that includes human, environmental and architectural values.