my taccuino

International Course on Architectural Design / Building and environmental design Lab /Architectural management

Florence Temporary Urban Center

Taccuino 2011-2012 Leila Daoud

International Course on Architectural Design / Building and environmental design Lab /Architectural management

Contents A. Scouting Phase • Brandscaping • Florence as a brand • Examples of Guerrilla marketing • Examples of temporary installations in urban space • Urban Center

B. Sketching Phase • Temporary pavilions • Detailed study of one Pavilion technological system • The Concept of Project Idea

Florence Temporary Urban Center

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Brandscaping

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Brandscaping Brandscaping • Brand architecture is the structure of brands within an organizational entity. It is the way in which the brands within a company’s portfolio are related to, and differentiated from, one another. The architecture should define the different leagues of branding within the organization; how the corporate brand and subbrands relate to and support each other; and how the subbrands reflect or reinforce the core purpose of the corporate brand to which they belong.

Mercedes-Benz Museum, Stuttgart , Germany

http://en.wikipedia.org/wiki/Brand_architecture

• When we consider ‘Brandscaping’ we often think of modern engineer marvels such as the new BMW building or perhaps the Mercedes equivalent . These buildings which are undoubtedly easy on the eyes are highly expensive advertising boards used to seduce us into equating the product to building. Words to describe these buildings might include, powerful, slick, dramatic, intense and gray. All words they’d like you to associate with their vehicles, maybe.

BMW AG , Munich , Germany

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Brandscaping Brandscaping • The practice of using buildings to strengthen our associations with the brand is not limited to today’s motor industry. The fashion industry too has made it a practice to have the world’s best architects design their stores. Again the buildings are built beautifully but in line with the message the brand wishes to communicate to the consumer. http://builtfabricblog.blogspot.com/search/label/BMW

• Brandscaping is a term used in marketing to describe the metaphorical landscape of brands (either for a particular brand, company or sector), however it is also being used by some researchers to describe the way in which brands are being infiltrated into urban landscapes, with the ultimate aim of being ‘inhabitable’ . http://ubisurv.wordpress.com/2009/07/25/tokyo-brandscaping-suipo/

New apple store , shanghai by Bohlin cywinski Architects http://www.trendhomedesign.com/new-apple-store-shanghai-by-bohlincywinski-jackson-architects

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Brandscaping BRANDSCAPES • In the twenty-first century, we must learn to look at cities not as skylines but as brandscapes, and at buildings not as objects but as advertisements and destinations.

• In the experience economy, experience itself has become the product. In the new environment of brandscapes, buildings are not about where we work and live but who we imagine ourselves to be.

• architecture can use the concepts and methods of branding not as a quick-and-easy selling tool for architects but as a strategic tool for economic and cultural transformation.

• Branding in architecture means the expression of identity, whether of an enterprise or a city; New York, Bilbao, and Shanghai have used architecture to enhance their images, generate economic growth, and elevate their positions in the global village.

• How can architects use branding as a means to differentiate places from the inside out—and not, as current development practices seem to dictate, from the outside in?

When architecture brings together ecology, economics, and social well-being to help people and places regain selfsufficiency, it can be a catalyst for cultural and economic transformation.

Guggenheim , Museum , Bilbao Florence Temporary Urban Center 4

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Brandscaping Brandism • Brandism is a technique that connects architecture with branding in order to create a unique identity for a location, and thus increase the value of that location.

• With brandism, architects look at the culturally unique and interesting elements of a location and incorporate these elements into their design. The goal is to capture the inherent potential of the places and people and design a development ,that is not only aware of, but enhances the cultural growth of an area. In this way, the building becomes a symbol for the area.

• In contrast to traditional architecture, basing its formal articulation on notions of culture, context and function, brand architecture manifests its own cultural landscape, deriving from a particular brand identity. brandscapes become largely the product of two factors :image and experience. .

BRANDSCAPES : Anna Klingmann (Published in Archithese, 2003) http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11243

• A brand is a set of values associated with a product or service, and in the case of Brandism, it is a set of values associated with the community and symbolized by architecture.

• The Brandism technique is inside-out branding. It uses qualities already present in an area, and pulls them out, creating a brand for the area, unique to the location.

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Brandscaping Buildings

Architecture

Advertisements and Destinations

Use concepts of branding as strategic tool for economic and cultural transformation

Building as a branding tool

Branding means the expression of identity

Architecture

Branding

unique identity for a location Increase the value of the location

Building

Unique elements of the area

Symbol

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Florence as a Brand

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Florence as a Brand

Architecture

History

Arts

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Florence as a Brand

Markets

Beauty

Food

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Florence as a Brand “Florence is a city of stone . The architecture possesses the magic of an optical precision instrument. Florence is the city where your footsteps can be heard rebounding off the stone walls on walking at night and where the human figure stands out clearly against the background [ ... ]” (Guido Piovene). [.. ] that special light, typical of Florence, does not dazzle but neither is it, hazy, and at one time, when the air was not poisoned and grey from pollution, we could see it every day [ ... ]” (Federico Zeri).

“The god who made the hills of Florence was an artist. Oh, he was a jeweler, an engraver, a sculptor, a bronze-founder, and a painter; he was a Florentine [ ... ]” (Anatole France).

“The city lays along the ample vale, cathedral, tower and palace, piazza and street, the river trailing like a silver chord through all, and curling loosely, both before and after, over the whole stretch of land, sown whitely up and down its opposite slopes, with farms and villas [ ... ] I can but muse in hope upon this shore of golden Arno, as it shoots away straight through the heart of Florence ‘neath the four bent bridges, seeming to strain off like bows [ ... ] ” (Elizabeth Barret Browning).

Florence “Far away in the valley lays Florence, pink, grey and brown, with the enormous antique dome of the cathedral dominating the scene just like a restrained balloon [ ... ] All around on the horizon a wavy fringe of bluish hills covered the white villas [ ... ]” (Mark Twain).

MANAGEMENT PLAN/ Historic Centre of Florence/ UNESCO WORLD HERITAGE 2006 | 2008

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Florence as a Brand The city is like an optic precision instrument; it is elegance, proportion, rhythm (Piovene). Her hills are a work of art, to the point that the God who created them can only have been Florentine (France). Florence is harmonious splendor (Barret Browning) but also shadows and mystery (Dickens). The light may be special (Zeri), her skies of silver and sapphire (Suarès), though crossed at times by precarious flashes of catastrophic light (Huxley). Her artists are for all time, they are current and paradigmatic (Berenson) whereas the dome described by Twain appears dramatically against the profile of the mountains. The city is something metaphysical which transcends history, in the sense that she is above nature and above history.

Antonio Paolucci Director of Cultural and Landscaping Heritage of Tuscany

Florence is the essential guidebook to Western figurative civilization.

Antonio Paolucci

Florence

MANAGEMENT PLAN/ Historic Centre of Florence/ UNESCO WORLD HERITAGE 2006 | 2008

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Florence as a Brand Markets Architecture

Beauty

Florence

History Arts

Food

Promote the Image of the City

Icon can be sold The Product Florence

Architecture is not only a technique ‌ but also a language Through a language you can say something Florence Temporary Urban Center 12

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Examples of Guerrilla Marketing

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Examples of Guerrilla Marketing • Guerrilla Advertising (Guerilla Marketing), this unique style of alternative Marketing relies heavily on energy and imagination, rather than big budgets and flashy effects. Guerrilla makes a far more valuable impression over traditional media, and achieves fantastic recall numbers by interacting with consumers on a personal level. • Guerrilla Marketing (Guerilla Marketing) takes consumers by surprise, makes an indelible impression, and pops up where and when people least expect it. By being a little cleverer and more unpredictable, you challenge consumers who desire some fun in their products. • Guerrilla Marketing (Guerilla Marketing) is ideal for small businesses that need to reach a lot of people, and for big companies that are looking for a grassroots component to their mass media campaigns.

Coined by Jay Conrad Levinson in his 1984 book

http://www.creativeguerrillamarketing.com/guerrilla-marketing/10guerrilla-building-examples/

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Examples of Guerrilla Marketing • The History of Guerrilla Marketing advertising went from boring, educational, and sometimes downright false ads to the entertaining spectacle we know and love today. Jay Conrad Levinson, author of many books on the subject, is credited as the father of Guerrilla Marketing. His ideas paved the way for small businesses to compete in the marketing arena with the big companies, ushering in an era of innovative and sometimes extreme marketing ideas. But Levinson’s ideas aren’t just about getting the customer’s attention: companies have to be ready and willing to back up their advertising with excellent products and services.

• The Origins and Evolution of Guerrilla Marketing

The main reason guerrilla marketing took off was its incredible effectiveness at breaking through our advertising blinders. The first instances of guerrilla marketing were radical for their time, but the techniques continued to develop. Girls convincing men to buy them drinks was suddenly more about marketing than about flirting. Even rappers got into the game when Run DMC released a song called My Adidas, sending sales of Adidas through the proverbial roof Florence Temporary Urban Center 15

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Examples of Guerrilla Marketing • Guerrilla Marketing for Social Causes

guerrilla marketing is not just about businesses and making money. Nonprofit organizations need to spread their word, too, and today many of them are turning to guerrilla marketing tactics to reach their target audience. The Red Cross has created some of the most ingenious and eyecatching socially aware guerrilla marketing messages.

• Different Types of Guerrilla Marketing

guerrilla marketing isn’t just about putting up some posters or creating a rad short video, It can take on nearly any form.

From strangers chatting with people on the street to making a product really hard to get hold of, marketers have lots of sneaky, amusing, and intelligent ways to get you to want what they’re selling.

Coined by Jay Conrad Levinson in his 1984 book

http://www.creativeguerrillamarketing.com/guerrilla-marketing/10guerrilla-building-examples/

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Examples of Guerrilla Marketing

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Examples of Guerrilla Marketing energy and imagination

surprise Guerrilla Marketing

Social Causes

achieves fantastic interacting with consumers

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Examples of temporary installations in urban space

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Examples of temporary installations in urban space BA_LIK by Vallo Sadovsky Architects • Slovakian architects Vallo Sadovsky have created a flexible pavilion for a public square in Bratislava.

• The BA_LIK pavilion is composed of five wheeled elements that can be configured as exhibition or performance spaces.

• Flexibility and mobility are main characteristics of the pavilion. The object itself is composed of 5 elements mounted on wheels that can be moved and connected so it becomes closed and compact or loosely open.

• During the summer months it can be used for various cultural activities: a theater performance, concert or a photography exposition. Similar to how a concert differs from a theater performance the proposed structure can adapt and change.

• In time when there is no particular event taking place, the pavilion becomes a modern city furniture, giving young contemporary identity to a square otherwise catering tourists with pseudo-historic “little big city”.

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Examples of temporary installations in urban space BA_LIK by Vallo Sadovsky Architects • The pavilion is part of an ongoing research of Vallo Sadovsky Architects on how people can influence and modify the urban space using small architectural objects and furniture. http://www.dezeen.com/2009/08/31/ba_lik-by-vallo-sadovskyarchitects/

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Urban Center

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Urban Center Definition • “Urban Center” is a term used to describe any institution whose core mission is to inform and engage the citizens in urban planning and public policy.

• Around the world, these kinds of institutions are fast becoming the most effective way cities can facilitate community involvement. Because they are supposed to offer the public a non-partisan, centralized location for all planning, policy and urban design information relative to their city, Urban Centers should be the perfect neutral ground for architects, planners, city officials, and community members to hold discussions and debates on proposed changes to public policy and the built environment.

• This issue is related to the wider context of participatory approach in the public planning domain which has become institutionalized as a method of good planning practice as opposed to the “rational hierarchical comprehensive” approach. In the public sphere, especially in community planning, democratic principles and public participation have become increasingly accepted as means for balancing and rationalizing multiple interests and preferences. The goal of participation is to forge consensus among interested parties, including planners, decisionmakers, citizens and advocacy groups, outside the traditional decision-making setup. Participation is thus viewed as a community action that is meant to increase the institutionalized democratic processes.

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Urban Center Creators, missions and interpretations of Urban Centers • Generally the institutional UC presents itself as a Centre of documentation/exhibitions, a ‘database’ of urban dealings on various temporal horizons : the ‘real time’ of transformations in progress and the ‘historical time’ with permanent shows/archives of the reconstructions of urbanisation processes.

In these cases the activities carried out in UCs can reflect critical points or typical faults of the relationship between politicians, economics operators and citizenship: at times they become places of formal presentation to the public (with demagogical and ineffective debates) for the legitimization of ‘black box’ projects, often pre-packaged and already contextualised with privileged economical actors; otherwise they are conceived as places for arrhythmic and informal consultation, containing a very evident asymmetry of basic information, common knowledge, evaluation methods and clarity of strategies.

Bruno Monardo, Luciano De Bonis, “Urban Center” as a privileged place for shaping shared urban vision, 43rd ISOCARP Congress 2007

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Urban Center SPUR Urban Centers Throughout history, civic involvement has been the foundation of a thriving, vibrant city. SPUR's expanded work in the Urban Center will focus on educational programs in good government, public policy, urban planning and design with the ultimate goal of engaging citizens in SPUR's work and in the issues that affect the entire region.

SPUR's history dates back to 1910, when a group of young city leaders came together to improve the quality of housing after the 1906 earthquake and fire.

Open in May 2009, the 14,500 square-foot Urban Center serves as SPUR's new headquarters. The four-story building houses all of SPUR's activities, including: • research and advocacy by policy directors • frequent policy committee and task force meetings • meetings with civic leaders and allied organizations • lunchtime and evening forums and panel discussions • an urban affairs library and resource center • permanent and rotating exhibitions http://www.spur.org/about/about_urban_center/architecture

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Urban Center Urban Centers Bologna • Urban Center Bologna is a communication center by means of the city shows and talks about the urban and territorial changes that are going to happen in its area. It provides to everybody information and data about Bologna and its hinterland and it gathers and shares thoughts about the future of the city.

Urban Center Bologna is the referral site for everyone involved in the urban design processes, it is a place where public institutions, residents, associations, communities, economic and social stakeholders come together with the aim to exchange ideas and compare projects. It encourages and looks after the commitment of residences to urban themes, by organizing and managing participative workshops.

The Urban Center Bologna major activities consist in: • permanent exhibition • temporary exhibitions • meetings • participative workshops • communication http://www.urbancenterbologna.it/index.php?/it/urban-center-bolognaenglish-presentation/urban-center-bologna-english.html

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Urban Center Centre of documentation/exhibitions

Urban Center

Inform

Engage the citizens place for shaping shared urban vision

• Discovery • Practice • Live through something

• skilled • experienced • competent •tested

• learning • refinement • culture

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Temporary Pavilions

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Temporary Pavilions Urban Laboratory: temporary Architecture "Temporary projects are a bit like an urban laboratory", says Jan Kampshoff from modulorbeat – a firm of ambitious urbanists and planners in Mßnster: "What is fascinating about this type of work is that we can use the projects to transform, improve, disrupt, ignore or reinterpret spaces for a short period of time. The projects may disappear, but the spaces are never the same again." Temporary buildings also have the advantage that they can often be erected more quickly and in a less complicated manner than conventional buildings, yet can still achieve a strong impact.

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Temporary Pavilions Urban Laboratory: temporary Architecture Urban switch : A case in point is switch+, a two-storey, 12

meter high, temporary information pavilion designed by modulorbeat for the sculpture projects M端nster 2007 exhibition. The pavilion's gold- coloured exterior shell was made of perforated copper sheet and came to life in response to the Silberne Frequenz (i.e. Silvery Frequency) light installation created by Otto Piene on the facade of the adjacent building. Especially at night, when the pavilion was also illuminated from the inside, the interplay with the Silberne Frequenz installation created a particularly unique atmosphere. Acting as an "urban switch", a moving part of the pavilion was able to reroute pedestrian and bicycle traffic on the square, thus also transforming the use and perception of this public space http://www.goethe.de/kue/arc/dos/dos/sls/sdz/en3802817.htm

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Temporary Pavilions Zero Emission Pavilion / partnerundpartner- architekten Architects : partnerundpartner- architekten Location: Hamburg , Germany Design Team: Jörg Finkbeiner, Klaus Günter Structural Engineer: ZRS-Berlin Construction Supervision: Jan Becker – Freiräume gestalten Project Year: 2011 Project Area: 75 sqm For this year’s annual Climate Week in Hamburg, partnerundpartner designed the main showroom of the 3rd Climate Week as an example for a sustainable temporary structure. Following the rules of “Cradle to Cradle” the pavilion is a CO2-positive space installation, which is completely recyclable. The main structure is constructed with branches, crotches and small trunks of trees from the near surroundings. These naturally grown supporting structures have been connected to a space framework.

Afterwards this structure can be trimmed and cut into shape.

Thus the branches define the appearance of the space and provide the structural support.

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Temporary Pavilions Zero Emission Pavilion / partnerundpartner- architekten The Zero Emission Pavilion exemplifies the life cycle of a building condensed to a temporary period of time. It uses the seasonal tree-cut as part of the local circle of resources.

After the deconstruction of the pavilion all material will be shredded and led back as nutrient matter into the forest soil.

This circle of resources could be experienced during the duration of the 3rd Climate Week in Hamburg. http://www.archdaily.com/174542/zero-emission-pavilionpartnerundpartner-architekten/

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Temporary Pavilions London Information Pavilion – proposal 1 Team members : Jose Carlos Cruz, Ines Guedes , Miguel Santos , Antonio Cruz Country: Portugal Team Type: Architect //http://www.ac-ca.org/en/london01winners

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Detailed Study of one Pavilion Technological System

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Detailed Study of one Pavilion Technological System London New Amsterdam Pavilion / UN Studio | Archdoc The pavilion is a gift from the Netherlands to New York in honor of 400 years of friendship; yet the pavilion does not attempt to physically manifest a representation of that relationship. Rather, the pavilion can be interpreted in different ways and speaks to both the history and the future of the city It is situated in a prime location . This is a site where history meets the future. The form’s wings point toward historical places, such as the Hudson, and also point toward the future of the skyline, as a way to connect the two. the pavilion will act as the heart of a busy intersection with people crossing over and meeting, coming together and interacting. “Not only tourists, but also locals, people commuting from the train station, from the terminal, from the city, can come here and grab a coffee, can get information from side of pavilion, ask where to go, where to see, where to take a boat

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Detailed Study of one Pavilion Technological System London New Amsterdam Pavilion / UN Studio | Archdoc The undulating form creates several facades; one facade provides digital information acquainting visitors with the surrounding neighborhood, another provides information about events in The Netherlands, another acts as an information desk, while still another façade will become a food and beverage outlet, with seating provided on the surrounding Plein.

Constructed from simple materials, namely wood, steel, and glass, the pavilion’s form experiments with how surfaces can morph into a continuous series of walls, ceilings and floors. “By keeping it simple, the idea of the pavilion is how it all comes together.

Working with the idea of blending, the diagonal fritted glass pattern helps the opaque white exterior surface transition to transparent glass. “It serves as a relationship to blend between different materials,” http://l78z.org/architecuture/new-amsterdam-pavilion-unstudio-archdoc/

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Detailed Study of one Pavilion Technological System London New Amsterdam Pavilion / UN Studio | Archdoc

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Detailed Study of one Pavilion Technological System cardboard pavilion - Shanghai 2010

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Detailed Study of one Pavilion Technological System cardboard pavilion - Shanghai 2010

http://packed-pavilion.blogspot.com/p/concept.html

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Detailed Study of one Pavilion Technological System Examples

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Detailed Study of one Pavilion Technological System Examples

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Detailed Study of one Pavilion Technological System Examples

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The Concept of Project Idea

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The Concept of Project Idea the force of our idea is the instrument of competition

Strong marketing strategies back design concept

Learning from the stranger

In the “ post – spectacular city “ , what matters is no longer architecture as spectacle and icon , but architecture as activity Promote the Image of the City Urban center of Florence : discovering identity , traditions then increase them in the building Designing for experience requires connecting architecture to the user’s personal dreams and desires

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The Concept of Project Idea

Florence •City history • City architecture and arts • City events • Food and beverage • Shopping and brands Feeling Florence •Streets , stones , footsteps sound • special light • architecture , dome • arts • river , bridges

Urban Center Functions • Urban Affairs library , research center • exhibition / gallery • urban workshop • café’ • shopping points ELEGANCE , PROPOTION , RHYTHM Unique identity

increase value

Economic and cultural transformation

Designing the Experience City - The role of Hybrid Cultural Projects / Gitte Marling, Ole B. Jensen & Hans Kiib

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