Dynamic identities for the Cultural Heritage

Today the rigid hierarchy of visual identity, which has been consolidated over time, has been placed into question. Various factors have contributed to this remix: the technological factor above all, but also others associated with the critique, aesthetics and ethics of communicating. The world of cultural heritage has certainly not remained immune to all of this, and may even be considered fertile testing ground. In this regard, Nick Bell [1] questions the efficiency of an identity based on its branding which maintains that cultural heritage graphics must be determined by their content, and therefore suggests that we should accept the differences and incoherence that this approach may generate. Sergio Escobar [2], attributes a fundamental role to communication in the process of legitimising and enhancing the value of cultural heritage places, however in order for this to occur it is necessary to resolve the problem associated with the impoverished language of communication. On one hand, that means that new forms of relations and communication are therefore necessary as well as new ways of establishing relationships with their public, on the other hand there are new ways of thinking and new approaches to design which similarly lean towards innovation. This paper, starting from the observation of a series of case histories, wants to reveal those new approaches and directions in the field of visual and communication design, which we can name as post-logo, in the own area of cultural heritage.