Albugnano

The POLIMI project underscored the importance of adapting activities to the pace and values of the community to help revitalise territories and their local socio-cultural heritage, contributing to their survival.

The project crafts a nuanced assemblage of Albugnano's identity by interweaving relational and spatial data, bridging past legacies with present aspirations.
Together with citizens, we identified a network of significant places in the town: those rooted in the past  – associated with personal memories and including symbolic and functional meanings – and those focused on the present, aiming towards a shared and renewed desire for project development, seeking to recover what has been lost due to reasons such as space closures or changes in land use resulting from socio-economic transformations in recent decades. 

The final strategy brings together eight places in the village that enable their use by citizens and tell visitors the stories, rituals, and practices incorporated therein. All have been equipped with what we have called 'Totems': narrative elements of the history and stories of the village and its inhabitants that create a path through the historic centre, together with historical pictures and accessibility information. The contents and the graphic identity result from the participatory process developed with the citizens.

THE NETWORK OF PLACES:

Symbolic and metaphorical places linked to shared experiences:

• The Square
  The area is not suitable for its use due to parking spaces occupying part of it, and it functions as a bus stop on busy days, especially when there are many tourists. On other days, the village is peaceful. The square offers a magnificent view of the nearby hills. A tiny circular table under the trees, a notice board providing information on activities and news, and a fountain for bikers exploring the hills create a gathering spot. Thanks to a tactical urban design intervention, a part of the square has been pedestrianised, returning this space to everyday gatherings between citizens.
• The Library
  It is often a venue for cultural and social activities. Some of our co-design activities have taken place right here. A front room is equipped for presentations, although it is currently unused.
• The Pro Loco Association
  In Italy, Pro Loco is a grassroots organisation that aims to promote a specific locality, typically a town and its surrounding territory; pro loco is a Latin term that can be translated as "in favour of the place". Small communities with strong civic pride may have their own Pro Loco organisation. It has been one of the main gathering places for the younger generation of residents, who are now around 50 years old or older. It remained closed for several years, so the younger generations do not recognise it as such. The place has recently undergone renovation and is open again. 
• The Old Parsonage
  The building needs extensive rehabilitation, making the upper floors unreachable. The courtyard and certain ground-floor areas are currently used for private and public activities. In summer, it operates as the main location for the local theatre festival, which lasts several weeks. It serves as a central point and meeting place for the visiting theatre groups, organisers, and the public.

Places linked to the cultural history of the territory:

• The Belvedere
  It is the highest point in the entire area. From here, on the clearest days, it is possible to see beyond the hills and the Alps and catch glimpses of the landmarks of the surrounding cities. The place is a natural terrace dotted with trees where performances occur, tourists arrive, and it is tied to various historical events.
• The Vezzolano Abbey
  The rectory of Santa Maria di Vezzolano, known as the Abbey of Vezzolano since the 19th century, is one of the most significant medieval monuments in Piedmont and part of the more than 25 churches united by the 20 km of paths of the Rete Romanica. The church, a protected national monument, is surrounded by a basin encompassing Albugnano, Moncucco, Castelnuovo Don Bosco, and is a step of the Superga-Vezzolano-Crea path. Moreover, the clearing of cypress trees at the entrance is a perfect place for a moment of rest and contemplation.

Places identified for the current design, linked to current desires:

• The Garden
  This area is not a garden but an uncultivated green space, privately owned and granted to the municipality on a 30-year lease. The owner and citizens desire to transform it into a space for socialising and performances, given its location enclosed by historic walls, a vegetable garden, residences, its gentle slope, and its proximity to the square. 
• The Enoteca Organization
  A local association of wineries that joined together for economic and social advancement refurbished the ancient elementary school building a few years ago. The facility had been abandoned for decades due to decreased local population, leading to fewer students. The structure has been converted into an organisation to promote local wines and food products. Some spaces are jointly administered with the municipality and are available for community use for cultural events, association meetings, and other activities.

Insights from the SMOTIES Project

Throughout the SMOTIES project, we encountered significant challenges associated with working in remote contexts where physical interaction was limited. These challenges were particularly pronounced in maintaining the engagement of more isolated groups. However, our occasional physical presence revealed its value, acting as a catalyst for diffuse projects and renewed local engagement.

While the project’s influence on internal dynamics was gradual and stretched over time, it served as a stimulus for creativity and collaboration. Our presence spurred local stakeholders to take initiative, opening the door to new creative opportunities and lively debates. Rather than waiting passively for change, the community responded to the project’s stimuli by launching fresh initiatives, actively involving citizens, and creating spaces for constructive contestation.

Local associations and institutional representatives embraced the collaboratively developed growth strategies, which led to concrete actions such as art-based participatory processes for a community mural, completing and naming a community garden, and seeking funding for additional projects. These efforts extended to collaborations with neighboring municipalities, underscoring a strong emphasis on territorial identity and participation. By 2025, several of these initiatives, now coordinated by local entities and supported by regional and national funding, were underway.

The SMOTIES project thus acted as a tuning fork, capturing latent potential and setting the tone for parallel actions. This work highlighted the value of relational methodologies, encouraging us to critically examine our presence within funded projects and our evolving relationship with the community and its participants.

By fostering conditions for sustainable engagement, the project supported communities in developing long-term visions rooted in territorial reappropriation and relational interconnectivity. Through this place-centered approach, we aimed to empower communities to reclaim their identities and weave progressive social agency into the fabric of their collective futures.