Fausto Daniel Santos Tapia, Luis Felipe Trávez García
This article presents a comprehensive methodological proposal aimed at brand design and strategic brand management, using as a case study the academic outreach project between the University and the agricultural associations registered under the Decentralized Autonomous Government of Pichincha, distributed across its eight cantons. The proposed methodological approach is based on the active participation of graphic designers in collaborative processes with local communities, generating spaces for knowledge exchange, co-creation, and capacity building. This process seeks to develop a graphic system composed of visual identity, packaging, and a distinctive visual style that enhances the positioning of agricultural products in local and regional markets, integrating productive, cultural, and territorial attributes. This interaction not only promotes the recognition of ancestral knowledge and community practices but also enables social innovation processes driven by design. Thanks to its adaptable structure, the proposal is replicable in rural contexts. Its methodology, based on participatory design, contextual diagnosis, and the integration of local cultural narratives, can be adjusted to diverse productive and sociocultural dynamics. This flexibility enables its implementation by local governments and non-governmental organizations, aligning brand management with sustainable development goals and fostering a design culture committed to social transformation and communicational equity.
Purpose The intersection of digital innovation and cultural heritage preservation presents a unique and emerging field of study, particularly in the context of “phygital” startups —enterprises that blend physical and digital experiences. Fusing digital innovation with Italy’s rich cultural heritage enhances preservation, accessibility and interactive visitor experiences. This paper aims to explore the transformative role of phygital startups in valorizing Italian cultural heritage utilizing a multidimensional analytical approach. The “phygital”, a portmanteau of “physical” and “digital,” refers to integrating digital technologies into physical spaces and experiences, creating a seamless interface between the two realms. This approach is particularly relevant in the cultural heritage domain, where digital technology is increasingly redefining the preservation and presentation of historical and cultural artifacts. In this context, phygital startups play a unique role in facilitating innovative experiences that enhance visitor engagement and understanding. By integrating cutting-edge technologies such as augmented reality (AR) virtual reality and interactive digital platforms, these startups create immersive and interactive experiences that bring cultural artifacts and historical narratives to life in unprecedented ways. This approach not only aids in preserving heritage but also democratizes access to it, reaching broader audiences who might not be able to experience these cultural assets in person. Design/methodology/approach This paper will examine case studies of Italian phygital startups in the cultural heritage sector, analyzing how their innovations have contributed to the enhanced preservation, interpretation and dissemination of cultural heritage. These case studies will provide insights into the practical applications of phygital concepts in cultural heritage, highlighting the opportunities and challenges these enterprises face. Findings Furthermore, this study discusses the implications of physical startups for cultural heritage management, including the potential for increased visitor engagement, improved accessibility and new revenue streams for heritage institutions. It will also address ethical considerations and the need for a balanced approach that respects the integrity and authenticity of cultural artifacts while employing modern technological enhancements. Research limitations/implications In analyzing the limitations of this research on Italian phygital startups in the cultural heritage sector, one should consider the potential narrowness of case studies, which may not represent the diversity of the sector. The rapid pace of technological change could also outdated findings quickly, while the focus on innovative applications might overlook traditional methods that remain relevant. Furthermore, the complexity of ethical considerations regarding the digital representation of cultural artefacts raises questions that this paper might not fully address, such as the potential for cultural misrepresentation or digital divides that may limit access for certain populations. Lastly, the research might not account for the long-term sustainability and economic viability of phygital approaches within cultural institutions. Practical implications The emergence of “phygital” startups marks a transformative era in cultural heritage management, merging digital technology with physical experiences. These enterprises employ AR and blockchain to engage audiences and create new economic models. Companies like WAY EXPERIENCE and ARTour lead in offering immersive experiences that blend history with technology. Managers in this sector are advised to form strategic alliances with tech and cultural experts to preserve the integrity and educational aspects of these experiences. The introduction of blockchain and digital assets like non-fungible tokens, typified by AESTHETES, represents a novel method of art ownership, necessitating careful management of digital and physical artworks and consideration of ethical issues in cultural preservation. Social implications The rise of “phygital” startups in cultural heritage brings social implications, such as democratizing access to art and history through AR, potentially reaching wider audiences. The intersection of technology and culture via immersive experiences fosters new forms of learning and appreciation. However, the digital divide could exacerbate inequalities if access to such technologies is uneven. Additionally, the use of blockchain for art ownership raises questions about the nature of art and its value in society. As physical artworks transform into digital assets, the very essence of ownership and cultural value is being redefined, challenging traditional views on art and cultural heritage. Originality/value In conclusion, this paper argues that phygital startups have a significant and growing influence on the cultural heritage sector. Their innovative approaches bring new life to historical artifacts and challenge traditional methods of cultural heritage management. The findings of this study will contribute to the broader understanding of the role of digital innovation in cultural heritage preservation and provide a foundation for future research in this evolving field.
This thesis investigated how leading fashion brands navigated the adoption of Web3 technologies in loyalty programs during the peak of the hype surrounding the topic (2020-2022). Through a qualitative approach, which combined 12 expert interviews and comparative case studies (Nike, Adidas, Hugo Boss, and Lacoste), it analyzed the strategic drivers of adoption, the role of timing, and the organizational conditions that influenced the success or stagnation of these initiatives. The findings revealed that brands like Nike and Adidas adopted Web3 mainly as a signal of innovation leadership and cultural relevance, rather than as a means of delivering functional value to the consumer. However, sustainable success was more strongly associated with organizational ambidexterity, cross-functional integration, and technological adaptability than with early market entry. The thesis proposes the innovative Strategic Hype Readiness Framework, which identifies six critical variables to transform symbolic adoption into sustainable innovation: (1) strategic clarity beyond short-term hype, (2) level of internal alignment, (3) cultural openness to experimentation (4) narrative clarity and consumer centricity, (5) internal capability development, and (6) learning and recalibration mechanisms.
Organizational Leadership and Management Strategies
L'autore definisce una metodologia di progettazione utilizzando strumenti come blockchain, Distributed Autonomous Organization (DAO) e Non-Fungible Token (NTF) per risolvere le problematiche del luogo e per offrire servizi di valorizza-zione territoriale. Nella parte iniziale viene introdotto il contesto tecnologico (Web3, blockchain, DAO e NFT) e si sottolinea l'importanza della community nell'‘ecosistema informatico. Il testo vuole mettere in relazione il concetto di ma-teria prima, di risorsa naturale, con l'NFT, considerato come un oggetto digitale che rappresenta la risorsa economica e materiale di comunità digitali. La ricerca ha prodotto un modello di classificazione di progetti che utilizzano la blockchain e gli NFT come metodo principale di sostentamento e finanziamento per raggiun-gere diversi obiettivi tematici. Sono state individuate quindici variabili di analisi più di quattordici DAO. Vengono presentati brevemente i progetti analizzati, che coprono diverse tematiche come l'ambiente, l'arte, la finanza rigenerativa e il cambiamento climatico. Nel finale, il progetto individua i technofossili, ovvero manufatti umani che sono stati sedimentati negli strati della terra a partire dalle prime attività umane, come materia prima digitale per creare beni digitali e pro-muovere la valorizzazione del territorio.
En el presente escrito se estudia a los NFTs (Non Fungible Token) como una tecnología digital que promete grandes ganancias económicas a usuarios y artistas digitales en México mediante el uso de internet, sin embargo, el problema que enfrenta es que tiene poca rentabilidad económica, por ello, se usa a la inducción analítica propuesta por Florian Znaniecki para el estudio de casos que ayuden a comprobar su beneficio económico. Se hallaron casos negativos que demuestran que los NFTs son una burbuja económica que ya estalló y ha beneficiado a comerciantes profesionales, una vez más el artista está en el último eslabón de la cadena. En consecuencia, los NFTs paradójicamente siguen el comportamiento de la venta ordinaria del arte. Y aquello que describian como objetos digitales únicos, se han convertido en una producción agranel. Esta investigación aporta, a manera de conclusión abierta, la urgencia de estudios de mercado en arte en México para analizar los diversos casos donde el arte, en todas sus áreas de producción, se inserta en ámbitos de lo cotidiano.
Cultural policy in Europe is deeply rooted in the Welfare State doctrine that has been prevailing during the last half century. Its implementation has gone along with the invention and rise of educational policy, social policy and health policy. This paper sketches its evolution as a four phase move towards what has been emerging as the central dual content of the current public cultural policy: preserving and promoting heritage, and bringing the creative industries at the core of the so-called knowledge society. The general evolutionary trend shows four distinct phases: 1) the creation of a systematic cultural supply policy based on a limited definition of culture suitable for public financing and based on a vertical concept of democratization by conversion; 2) the gradual decentralization of public action, which leads to an increasing disparity in its aims and functions, and which challenges the initial universalist, top-down egalitarian model; 3) a revision of the legitimate scope of public action, which declares symbolically obsolete the founding hierarchy of cultural politics, that which would oppose high culture, protected from market forces and entertainment culture and governed by the laws of the industrial economy; 4) an increasing tendency to justify cultural policy on the basis of its contribution to economic growth and to the balance of national social diversity, which legitimises the regulatory power of public action as well encouraging the expansion of the creative industries and the demands for the evaluation of procedures and results. The last section of this paper moves away from the state centered perspective and focuses on the city as the incubator of cultural generativity, in order to suggest how a city-centered approach to cultural development challenges the state-centered doctrine of cultural policy.
The main research questions for this local study of Tarkett AB, a floor manufacturer, are based on the central characteristics of the third industrial revolution: globalization, technological development, and organizational change. As a background to the local development and change towards the end of the twentieth century, I have chosen to emphasize, on the one hand, the increasing need of the industry for internationalization, rationalization, and productivity development after fordism and the demise of the regulated “real wages capitalism” in the middle of the 1970s, and, on the other, the work rights offensive of the labor movement in the 1970s and its continued struggle for economic and industrial authority. The method to analyze the essential traits of the organizational change process has aimed to construe a field of organizational change whose ideal types are based on taylorism, toyotism, flexible specialization, just-in-time, and lean production. Methods used to analyze change from the perspective of social structuration are also related to the theories of dynamic contradictory class locations, local hegemony, and gender. Apart from traditional source material and interviews, the study builds on the results from a study group consisting of a number of factory workers from Tarkett. Technological change and development (IT) of the work process on the factory floor has been analyzed as technological rationalization, quality development, work environment improvement, and as issues of gender relations and class positions at the work place. As regards the management process, leadership and control, centralization and decentralization concepts are vital. In matters concerning working conditions, including salaries, working hours, and job profiles (qualifications required for employment) are central. The management process was subject to changes that entailed deviations from the principles of traditional tayloristic management philosophy. Instead a participant change strategy implemented decentralized leadership functions in the shape of management by objectives via autonomous groups according to principles of ”responsible autonomy”. The investigation shows that computer-aided centralized control functions, competence improvement, and intensified ideological control worked together to change the management process. Decentralization of responsibility, the integration of white-collar like duties, the general competence development, and the higher demands on job qualifications, combined to render workers’ class locations more contradictory. This, together with ideological control and change, contributed to consolidate local hegemony.