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“And yet it moves!” An institutional analysis of the Immobili’s motion towards hybridity

“…These results contribute to informing the discussion on the role played by institutional conditions in the emergence of hybridity within non-profit organizations (Smith et al, 2013;Doherty et al, 2014), specifically confirming, even in the hypothesis of internal resistance, the emphasis given to this role by previous studies (Greenwood et al, 2011;Micelotta et al, 2017). Additionally, by focusing on a cultural organization, our results highlight that institutional conditions affecting the resources at disposal and/or the legitimacy recognition for cultural activities have historically incentivized the motion towards hybridity, as nowadays happens for theatres and museums that, with increasing frequency, combine their non-profit mission with the market orientation to meet the public's tastes (Schuster, 1998;Toepler, 2006;Rushton, 2014). About RQ2 and the how issue, this study indicates that, to realize their motion towards hybridity, academies implemented a variety of innovations affecting their form in terms of: operational priorities, because of the aforementioned pursuit of a non-profit mission with a contemporary market logic; governance, which assumed a multi-level structure to include different decision makers with inequal decisional power; ownership, because of the development of a timeshare model for the assets to be used in activities; distinctive human resources, for the definition of a combined organizational model integrating volunteers with paid workers; and distinctive other resources, for the combination of "certain" revenues, collected on a mandatory basis, with "uncertain" revenues, earned according to market rules.…”

“…These results contribute to informing the discussion on the role played by institutional conditions in the emergence of hybridity within non-profit organizations (Smith et al , 2013; Doherty et al , 2014), specifically confirming, even in the hypothesis of internal resistance, the emphasis given to this role by previous studies (Greenwood et al , 2011; Micelotta et al , 2017). Additionally, by focusing on a cultural organization, our results highlight that institutional conditions affecting the resources at disposal and/or the legitimacy recognition for cultural activities have historically incentivized the motion towards hybridity, as nowadays happens for theatres and museums that, with increasing frequency, combine their non-profit mission with the market orientation to meet the public’s tastes (Schuster, 1998; Toepler, 2006; Rushton, 2014).…”

“…This debate particularly concerns the organizations operating in the cultural sector that, traditionally characterized by pursuing a non-profit mission, are experiencing an increasing market orientation (Toepler, 2006;Ekström, 2019). Indeed, to the best of the author's knowledge, so far no study has investigated the establishment of hybridity in a historical case of cultural organization, such as an academy of intellectuals, in spite of the growing interest of scholars in the hybridization process of organizations such as museums and theatres (DiMaggio, 1983;Schuster, 1998;Ruusuvirta, 2013;Rius-Ulldemolins, 2016).…”

“…These challenges particularly concern the non-profit organizations operating in the cultural field, because of the increasing market orientation of their activities in conjunction with the traditional pursuit of a non-profit cultural mission (Toepler, 2006;Ekström, 2019). In the past decades, several studies have highlighted the increasing interest of scholars in the hybridization process of organizations such as museums and theatres (Schuster, 1998;Ruusuvirta, 2013;Rius-Ulldemolins, 2016). However, the lack of similar studies set in historical contexts implies that, to date, little is known about the hybridization processes that could have affected cultural organizations in the past centuries, even though this knowledge could inform the present debate on the combination of for-profit and non-profit logics in the cultural sector (Schuster, 1998;Rushton, 2014).…”

De los equipamientos culturales a la ciudad cultural. La experiencia proyectiva de la Ciutat de l’Artista Faller en València

“…La legitimitat tradicional de la política cultural, basada en el valor intrínsec de la cultura, va ser parcialment substituïda per la idea que aquesta és també un recurs capaç de produir externalitats positives en els àmbits social, econòmic o urbà (Belfiore i Bennett, 2008;Yúdice, 2002). En el parc d'equipaments culturals, aquesta tendència es va reflectir en un cert grau de desestatització del model, amb un major paper del sector privat empresarial i el tercer sector (Belfiore, 2004), procés que es va realitzar entre considerables tensions sobre els seus outputs culturals (Hutter, 1997;Schuster, 1998).…”