Project Development Taccuino Scouting & Sketching Phase
Fahimeh Vahabi
Architectural Management Building & Environmental Design Lab
International Course On Architectural Design Fall 2011
Brands Are Vocabularies Brands Are Vocabularies
Brands Are Vocabularies Brands Are Vocabularies
Brandism
Web References : http://klingmann.tumblr.com/post/1161905655/creative -brandscapes-heroes-with-flaws http://www.youtube.com/watch?v=X8iAuQGFLo4
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
A trend where architecture and real estate are increasingly linked to the marketing of distinct identities to enhance to perceive value of a building.
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.
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
In this way, the building becomes a symbol for the area. In aesthetics and use it represents the population and becomes a branded destination that attracts both local users and visitors, acting as a catalyst for growth and the improvement of urban districts.
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.
Brands often have a homogenizing influence when they are used by major corporations to impose the corporation‘s brand identity on the community, but when used in the opposite way, brands can have a positive impact on the creation of an identity and community.
Brands Are Vocabularies Brands Are Vocabularies
Brands Are Vocabularies
Branding and architecture It is evident that particularly in the past two decades, branding and architecture have developed a symbiotic relationship. For example, Prada and other leading brands progressively employ architecture as a central part of their larger branding strategy.
Prada+ iconic design : Herzog & de Meuron‘s exoskeleton Prada store in Tokyo‘s high-end shopping district is one of many ―one-off‖ Prada stores designed by noted architects. Instead of developing a one-size-fits-all in-store experience, Prada shrewdly chose to bolster its image by being unique in each location - so long as each store is suitable for its level of luxury
At first, brand architecture transformed the retail world with flagship stores such as NikeTown – designed not as much to sell shoes, but as places where customers can experience and immerse themselves in the Nike brand. Similarly, the Apple store created an entire Apple community space along with an aesthetic that mirrors its products. But it is not only the aesthetic but the realization of the program into a unique event space that turns the Apple Store from a conventional retail space into a comprehensive brand experience.
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
Examples are the Genius Bar, which entails a complete reinvention of customer service, as well as the theater, where people can attend free seminars. These functions turn what used to be a simple store into a major third space, a public hub where people can gather, socialize, and check their email for free. In this sense, the holistic choreography of a brand experience rests on three factors: the hardware, which in essence is the architecture or the stage; the software, which entails the unique programming of the space; and the humanware, which focuses on service and human interaction. After all, if the service and human interaction are not perfectly tailored to the brand experience, the aesthetic experience and the architecture become irrelevant.
The Genius Bar is the tech support station located inside every Apple retail store which is now a public hub where people can gather and socialize
As brands today increasingly build emotional connections through values and experiences, there is also a greater interest in having architecture create interactive settings where consumers can experience a brand with all their senses. From gallery-like shopping spaces with one-time exhibitions to mobile units, we see an increase in three-dimensional pop-up manifestations. These have a tendency to appear unannounced in an unexpected urban setting, quickly draw in crowds, and then disappear or morph into something else. The buzz they generate beats any public relations campaign and shakes up traditional methods of reaching customers. This idea of conveying brand values in interactive settings has heavily infiltrated the automobile industry on a broader scale. For example, at BMW World in Munich, a brand destination, customers can pick up their cars in a dynamic experiential setting. The Mercedes Museum in Stuttgart is another example where visitors can immerse themselves in the heritage of Mercedes in this new tourist destination.
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
Brandism - Phase I
But architecture and urban planning now also borrow greatly from branding.. For the past twenty years, architecture has played an enormous role in the branding of cities, primarily with cultural institutions that elevate the image of a city in the global market. This was the case first with Frank Gehry‘s Guggenheim in Bilbao in 1996 – a building, which put a formerly economically depressed town in Spain on the map and turned it into a major tourist destination.. Other cities soon followed suit and have in recent years successfully used architecture as part of a broader city branding strategy.
The Guggenheim in Bilbao used architecture as part of a branding strategy
From the perspective of our current media and marketingdriven environment, architecture is now in a pivotal position. If we count all the buildings that are currently under construction in the Far East, the Middle East, the United States, and elsewhere as part of an attempt to redefine urban, regional, and in some cases also national identities, you will notice how integral architecture is to branding and vice versa. . Thinking about architecture as part of our economic environment leads us also to think about opinion shaping, power, identity, and experiencing the world. When seen in a socio-economic context, architecture is now no longer part of marketing our environment, it has become the essence of it.
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
Brandism - Phase II
Following this first phase of Brandism where architecture was strategically used to achieve a distinct identity for a city, we have entered the second phase of Brandism in which architecture is used increasingly to achieve a unique image for commercial developments around the world. Celebrity architects who designed cultural institutions are now hired in increasing numbers to design corporate, hotel, and residential developments, particularly in the emerging markets of the Far East, Middle East, and Europe.
Branding has also deeply infiltrated the real estate market in New York: real estate developers now collaborate with branders and star architects to create a unique identity for their buildings. The trend in New York began with Richard Meier‘s towers on the West Side. Almost six years ago, celebrities such as Martha Stewart, Nicole Kidman, and Calvin Klein were among the first to spend $2,000 per sq. ft., which convinced some developers that architecture with a capital ―A‖ could help them sell real estate by making their projects unique. The most prominent examples of such collaboration include the New York Times building designed by Renzo Piano, which created a new icon for the New York Times Norman Foster‘s geodesic vertical extension for the Hearst Corporation Building; Cook + Fox‘s Bank of America tower; Frank Gehry‘s Swiss mountain range for the IAC Corporation and the Urban Glasshouse, which translated the myth of Philip Johnson‘s legendary glasshouse in Connecticut into an urban brand.
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
The Blue Building by Bernard Tschumi typifies the trend of private developers increasingly choosing to collaborate with formerly critical practitioners—pointing to a new movement in architecture where the schism of high and low architecture is increasingly disappearing in the light of global market forces. Despite the constraints of New York City zoning law and market-driven commercial requirements, Tschumi devised an original envelope pattern and distinctive shape in order to simultaneously conform to a strict building code and differentiate the building from similar high-rise structures. The strategy also creates a highly specific architectural statement that responds to the eclecticism of the historic Lower East Side neighborhood.
Nevertheless, there seems to be a lot of controversy about and even resistance to how the architectural community might deal with the radical shift and resulting constraints of these new global socioeconomic conditions. Many architects would not readily identify their work with branding; in fact, they are doing everything possible to resist this term and yet I would argue their work cannot escape the rules of commodification.
Ironically, it is precisely because architecture is increasingly perceived as a product that architects get more work from the private sector. So in a way there is a lot of potential for more good architecture to enter the world although we may also face a shorter attention span, which in turn might lead to a superficial reading of architecture — a kind of ―Paris Hilton phenomenon‖ that depends on instant recognition and, at its worst, is not tied to any notion of content.
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
Urban brands
This phenomenon is evident in Frank Gehry‘s new project for a medical center in Las Vegas where he consciously emulates the thirst for instant recognition and lack of content by designing waves of steel and glass that can be anchored into any generic developer project. Thus, Gehry makes life very easy for the developer, who can then build an ordinary, cost-effective, hassle-free building while gaining all the merits from the Gehry brand and image.
In the arena of urban development, however, branding is a slightly different matter. As more and more businesses are attuned to the advantages of multiple international locations and accelerated employment mobility, cities need to confront a growing number of competitors in their efforts to attract scarce resources within an ever-expanding range of possibilities.
This is just as true for large cities and metropolitan areas as it is for small communities. Therefore, it is vital for places to adopt a market perspective, establish a strategic vision, and communicate their competitive advantages along with a distinctive image in order to make potential investors aware of their inherent attributes and features.
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As cities strive to gain the attention of multinational corporations, visitors, and inhabitants, they need to establish a market-oriented planning process to diversify their economic base and develop mechanisms for flexibly adapting to changing conditions. No longer are places merely the settings for business activity.
Places must develop and nurture entrepreneurial characteristics to keep up with the changing economy. As every community transforms itself into a seller of goods and services, places become more like corporations, developing products, markets, and customers. Today, places are ranked and evaluated on every conceivable dimension: where to start a business, where to raise a family, where to plan a vacation, hold a convention, or go for entertainment.
From quality of life considerations to charm, culture, and ambiance, the criteria in the quest for livable, investive, and visitable places increasingly revolve around a perpetual search for the new and vibrant.
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
Therefore, cities act as brands— as do corporations— in order to attract business, investment capital, and tourists. However, there is one difference: While corporations are driven by the well-known slogan ―think globally, act locally,‖ places however are confronted with the need to do exactly the opposite: they must think locally and act globally, using their differences as equity. Therefore, as opposed to corporate branding, where the architecture creates an experience that is unique to the corporate brand—by and large disregarding local differences—for architecture to create or strengthen an urban brand, it has to express the latent qualities of the city. In other words, architecture must express a city‘s unique characteristics, surroundings, landscape, and even the way people interact.
In theory, therefore, brand architecture suggests the possibilities of reconciling market and place; of utilizing brand architecture to create a unique placebased identity. However, the more visible brand architecture becomes, the more it takes on the decontextualized, market-oriented look of franchise culture.
Brands Are Vocabularies Brands Are Vocabularies Brands Are Vocabularies
Evidently, the continued use of star architects produces an architecture that is less risky for investors but also less and less evocative of a sense of place. As superstar architects stamp their own signatures on the urban landscape, they become increasingly more like franchises that create standardized contexts as they move from place to place. To counter the generic nature of corporate towers, many cities incorporate pre-established themes that are based on narratives imported from elsewhere— a strategy that originated in Las Vegas casinos where specific narratives are translated into experiential commercial landscapes. These themes are now applied successfully to shopping malls and urban entertainment districts. In terms of residential communities, a ―Boca Raton-style gated community,‖ complete with golf courses and other leisure-time amenities, seems to be favored from Shanghai to the Middle East, giving rise to an abstracted development formula that is exported everywhere.
All these efforts to create a unique identity eventually coalesced into one grand formula, which at this stage has reached a level of ―brand urbanism‖ most visible in Dubai, most notably with Burj Dubai, a mixed-use destination project that incorporates the world‘s tallest tower, the world‘s largest shopping mall, a large man-made waterfront, and an Armani-branded hotel. Over the last decade, Dubai realized an entirely new place-making enterprise by launching a very profitable ―island urbanism‖ built upon the idea of maximizing beachfront properties, exemplified in Palm Jumeirah, Palm Deira and The World. Themed districts such as ―Sports City,‖ ―Arabian Ranches,‖ and ―Dubailand‖ are other interesting examples of real estate branding in an effort to create unique destinations.
Guerrilla Marketing The sky is the limit
Innovative Ideas Know No Boundaries
Innovative Ideas Know No Boundaries
Guerrilla marketing is an unconventional system of promotions that relies on time, energy and imagination rather than a big marketing budget .
"Children know no boundaries. Drive carefully" A Swiss campaign uses billboard areas, and starting from there it expands to the road through the wall, where children play or cross the street
The tactics often rely on methods that are of poor taste or include littering/graffiti and businesses or causes using guerrilla marketing should consider whether or not this is the way they want their cause viewed.
Innovative Ideas Know No Boundaries The term was coined and defined by Jay Conrad Levinson in his book Guerrilla Marketing. The term has since entered the popular vocabulary and marketing textbooks.
The objective of guerrilla marketing is to create a unique, engaging and thoughtprovoking concept to generate buzz, and consequently turn viral.
To promote the Calgary Farmer‘s Market, fresh apples were hung from bare trees in busy pedestrian areas
Guerrilla marketing involves unusual approaches such as intercept encounters in public places, street giveaways of products, PR stunts, or any unconventional marketing intended to get maximum results from minimal resources.
More innovative approaches to Guerrilla marketing now utilize cutting edge mobile digital technologies to engage the consumer and create a memorable brand experience.
Innovative Ideas Know No Boundaries
This action of guerrilla marketing is dedicated to anyone who has ever stepped on a piece of chewing gum on the street and then he accidentally brought into the house, unfortunately, sticking on the carpet or in other difficult places to clean! The problem of discarded tires in the streets instead of in special containers is strongly felt in the city of Dublin: Dublin City Council through an outdoor campaign created by the agency Public is QMP in a commercial area in town, has highlighted the annoying problem by choosing the path the unconventional. To encourage pedestrians to throw away the tires rather than throw them in the street, hundreds of shoes have been stuck with chewing gum on the ground to attract the attention and curiosity of many passers-by and, perhaps, leave a strong mark in the minds of offenders.
A billboard created by Cingular Wireless to advertise to get less dropped calls
Web References : http://en.wikipedia.org/wiki/Guerrilla_marketing http://www.creativeguerrillamarketing.com
Guerrilla 3D Projection Mapping
Innovative Ideas Know No Boundaries It allows buildings to move, transform and even communicate! A new advertising phenomenon is taking the world by storm. 3d Projection Mapping allows marketers and advertisers to create surreal landscapes by projecting images on objects
Web References : http://www.creativeguerrillamarketing.com/guerrilla-marketing/12-must-see-guerrilla-3d-projection-mapping-examples/
'Pop-up' urban planning
Innovative Ideas Know No Boundaries Re-Thinking urban planning
'Pop-up' urban planning gives cities the freedom to experiment with projects on a temporary basis, allowing innovative ideas a trial run without expensive commitment of taxpayer money. Cities around the world are embracing the idea, leading in many cases to permanent changes in the urban landscape.
The words ―pop-up‖ have become synonymous recently with a smart, savvy form of experimentation. Usually associated with the temporary installation of a cafÊ or retail store that operates for a limited time and then disappears, pop-ups are used by chefs to try out restaurant concepts, while brands employ them to gauge the interest and spending habits of specific neighbourhoods.
Now, cities around the world have embraced the idea of pop-up urban planning, experimenting with temporary projects as a way to build public support for an idea, circumvent city hall, or iron out the wrinkles in a municipal pipedream. The idea was first employed in Copenhagen in the 1950s, when the now famously pedestrianfriendly city was debating whether to close Struget Street to car traffic. With the public firmly opposed the idea, the city announced it would close the road over the Christmas holiday as an experiment. It has remained closed ever since. Today, pop-up urban planning is, well, popping up everywhere, from temporary seating areas in Vancouver to high tech-tourist kiosks in Paris and the surprisingly successful transformation of New York City‘s famed Times Square into a car-free zone.
Innovative Ideas Know No Boundaries
If there is a reigning Queen of Pop-Up, it is Janette Sadik-Khan, the New York city transportation commissioner. In 2009, Ms. Sadik-Khan famously closed Times Square to traffic, transforming it into a pedestrian mall by simply throwing down some pylons and offering a smattering of lawn chairs. Although some drivers howled, Ms. Sadik-Khan was ready for the criticism, and began citing statistics she gathered by closely tracking the experiment.
New York City-USA
The city quickly found that revenues from businesses in Times Square had risen 71 per cent, and that injuries to motorists and passengers in the project areas dropped 63 per cent. The city installed GPS units into 13,000 taxis so that the Department of Transportation could track the impact on car traffic, and found that northbound trips in the west midtown area around Times Square were actually 17 per cent faster. The pop-up projects didn‘t stop there.
Innovative Ideas Know No Boundaries
Ms. Sadik-Khan brought temporary public swimming pools onto Manhattan streets last summer, and, over the course of a single weekend, she turned a Brooklyn parking lot into a park by painting a white border and filling it in with green to represent grass.
―It was a quick way of showing you can transform a space in a matter of hours instead of a matter of years,‖ she told Esquire magazine. She performs most of her transformations without capital funds from the city, scrounging up cash and resources and avoiding actually asking permission.
Mayor Michael Bloomberg‘s administration has embraced the tactic, and now uses the term ―pilot project‖ to introduce programs into other departments, including education, making them exempt from the usual approval processes.
Innovative Ideas Know No Boundaries
Paris-France
Innovative Ideas Know No Boundaries
At the beginning of the month, the City of Lights turned on 40 temporary urban design projects that will remain on display until December, when residents will be invited to offer their thoughts on which to keep and which to ditch. Jean-Louis Missika, the deputy mayor in charge of innovation, described the project as transforming the city into an ―experimental laboratory‖ for urban design. Most of the projects are high-tech, environmentally conscious and focused on making the city easier to navigate for locals and tourists. There are parking detectors that guide drivers to available spaces and wi-fi enabled hammocks along the famed Champs-Elysees. Outside Saint-Sulpice, the 17th century church beloved by tourists, a kiosk has been built to send virtual postcards. In back alleys and low-traffic streets, illuminated, energy-efficient footprints embedded in the ground will guide pedestrians. There are electric car chargers and portable, collapsible patio seating built into a kind of trailer, which is driven into a parking spot and unfolded.
Toronto-Canada
When city councillor Kristyn Wong-Tam pitches a proposal to revamp Yonge Street this fall, she will use the popup notion to sugar-coat her idea.
The downtown councillor wants to reduce the stretch of Yonge between Dundas and Gerrard to two lanes of traffic, making it more pedestrian friendly. But Ms. Wong-Tam is smart enough to know that the city‘s current administration is not going to be enthusiastic about green-lighting something that affects drivers, so she‘s looking for permission to try the idea out.
She will ask council to vote in favour of a pilot project that would introduce the new streetscape through the use of removable landscaping. ―We‘re saying rather than making this an all-or-nothing decision, next spring let's do a trial in a very inexpensive way with temporary landscaping and just see how it works,‖ said Ken Greenberg, the urban planner who created the Yonge Street Master Plan at Ms. Wong-Tam‘s request. ―The fact is, you learn from doing those. There‘s a lot of specifics to sort out.‖
Innovative Ideas Know No Boundaries Web References : http://www.theglobeandmail.com/news/national/toronto/citiesrethink-urban-spaces-with-pop-up-projects/article2097898/
Urban center includes any institution to inform and engage the public in urban planning and public policy.
Urban Center
Let’s Make It OUR City It is a centralized location for all planning, policy and urban design information relative to the city.
It may provide citizens with forums and exhibits to encourage them to think about long-term outcomes.
It proposes connection between our daily routines and engineered networks that define modern life.
It encourages collaboration among professionals and the general public. It engenders a sense of community, belonging, and ownership.
It could be an international exchange network for sharing of best practices and innovative design ideas.
Let‘s Make It OUR City
An urban center is an informational and cultural resource for citizens. A neutral forum to discuss, debate and analyze the architectural, social, economic and environmental issues.
Web Reference : http://www.spur.org/programs/spurcenter/whati s.shtm
San Francisco's South of Market was a weary blur of rooming houses and office buildings in 1960 when a new advocacy group calling itself the Planning and Urban Renewal Association - SPUR for short declared the neighborhood to be ripe for change, the city's "most blighted area."
These days the scene is quite different, with a park-topped convention center surrounded by upscale hotels and cultural facilities - and the newest building of all, SPUR's home.
SPUR Urban Center San Francisco
Let’s Make It OUR City Web References : http://articles.sfgate.com/2009-05-24/bayarea/17200371_1_spur-s-home-urbanrenewal-association-spur-s-citizen-planninginstitute http://www.examiner.com/architecturedesign-in-san-francisco/spur-urban-centerthe-architecture-of-honesty http://sfcitizen.com/blog/2009/05/31/sp ur-urban-center-grand-opening-onmission-in-the-soma/
"Ten years ago we decided to be more effective, more public - we wanted to take planning retail," recalled Jim Chappell, who was hired as executive director in 1994 and now heads SPUR's Citizen Planning Institute. When Chappell took the helm he was one of two employees; now there's a staff of 18 In a four-story, 14,065-square-foot home at 654 Mission St.
Let’s Make It OUR City A transparent, visually accessible building which invites the public in .
While other nonprofit groups in large cities have spaces devoted to architecture and land use, the SPUR Urban Center may be the first built from the ground up. And while the third floor is reserved for offices, the rest is aimed at public outreach. It is often the challenge of a limited budget that produces some of the most satisfying architecture. After a decade of over-thetop, mega-budget architecture around the world, the Great Recession had put the brakes on extravagance for extravagance‘s sake.
Pfau, who hasn‘t been an architect of that cloth anyway, reflected, ―SPUR is an organization open to all who are interested. Therefore, a transparent, visually accessible building was critically important.‖ The building exemplifies what I call the ―architecture of honesty‖ and stands in stark contrast to the recent trend of ostentatious, yet poorly designed, buildings.
Most parts of the building are aimed at public outreach .
Let’s Make It OUR City It's a saga in which SPUR itself has played a role, earning vilification as well as respect along the way. The nonprofit traces its lineage to 1910 and the San Francisco Housing Association, but the association's formal birth came in 1959 as an offshoot of the Blyth-Zellerbach Committee, a group of corporate leaders.
Like other establishment forces of the era, SPUR saw urban renewal as a necessity if San Francisco was to forge a place for itself in the national economy; indeed, it served as the official citizens advisory group to all projects undertaken by the San Francisco Redevelopment Agency.
The gallery space on the first floor
The organization of the building is so straightforward as to be obvious when you walk in the front door. Gallery space on the first floor, public meeting room for 125 on the second, staff and office space on three, and an urban research library on four. You intuitively understand exactly where you are in this building.
Pfau embodied the transparent nature of SPUR in the building with a predominantly glass façade punctuated with horizontal louvers for shading.
Completing the transparent nature, each floor has fenestration on the back, alley-facing wall. This not only allows a clear view through the building, it provides daylight in the deepest areas of the building. The transparent nature with a predominantly glass façade with horizontal louvers for shading.
Working down from the top: The fourth floor will offer a sunny terrace as well as a research library containing reports on transportation planning, municipal governance, neighborhood design and similarly wonkish topics. The second floor is a meeting space for the talks that SPUR hosts almost daily - last month's lunchtime forums included "Waterfronts in Sweden" and the ground floor is devoted to a gallery that open Friday with an exhibition exploring the different forces that have shaped the city's landscape, from 19th century oligarchs to 21st century "eco-urbanists."
Let’s Make It OUR City
The view from the street draws you into the simple high space. There are no gimmicks here, just a broad sampling of city plans pasted on the wall. You can skim the surface or really look at them. The exhibit doesn‘t require huge crates or expense. They are decals pasted on the wall. SPUR matches the paint color and the cities seem to blend into the wall. It‘s like a crash course in urban design.
The choice of materials tends toward the simple; steel, glass, and exposed concrete block make up the building envelope.
Except the office floor all the floors are built for the public cooperation.
Yes, that‘s exposed concrete block and most of the lateral walls in the private offices and conference rooms have it. It‘s a frugal statement but one that is in keeping with the mission of SPUR—good solid work with no frills. Same with the steel seismic bracing—it‘s there, it‘s visible, and it works within the architecture.
Let’s Make It OUR City
by Jean Nouvel
Serpentine Gallery Pavilion 2010
Architecture Is A Dialogue Architecture Is A Dialogue
Architecture Is A Dialogue
The Pavilion commission has become an international site for architectural experimentation and follows a long tradition of Pavilions by some of the world‘s greatest architects. The immediacy of the commission – a maximum of six months from invitation to completion – provides a unique model worldwide. The design for the 2010 Pavilion is a contrast of lightweight materials and dramatic metal cantilevered structures. The entire design is rendered in a vivid red that, in a play of opposites, contrasts with the green of its park setting.
The striking red colour of the pavilion contrasts with the surrounding park and refers to iconic symbols of London
Architecture Is A Dialogue Architecture Is A Dialogue
The Serpentine Gallery Pavilion 2010 is designed by worldrenowned French architect Jean Nouvel. This 2010 Pavilion is the 10th commission in the Gallery‘s annual series, the world‘s first and most ambitious architectural programme of its kind. It will be the architect‘s first completed building in the UK.
The building consists of bold geometric forms, large retractable awnings and a sloped freestanding wall that stands 12m above the lawn. Striking glass, polycarbonate and fabric structures create a versatile system of interior and exterior spaces, while the flexible auditorium will accommodate the Serpentine Gallery Park Nights and the changing summer weather.
The sloped freestanding wall which draws public attention to the pavilion
An auditorium will host the Park Nights programme of public talks and events and also a public cafĂŠ .
Architecture Is A Dialogue Architecture Is A Dialogue
In London, the colour reflects the iconic British images of traditional telephone boxes, post boxes and London buses.
Web References :
http://www.serpentinegallery.org/2010/03/serpentine_gallery_pavilio n_20_14.html http://www.guardian.co.uk/artanddesign/gallery/2010/jul/06/serp entine-pavilion-jean-nouvel http://www.dezeen.com/2010/07/06/serpentine-gallerypavilion-by-jean-nouvel/
The pavilion design highlights the idea of play with its incorporation of traditional French outdoor table-tennis tables
The public café‘ with the opportunity to play games
Architecture Is A Dialogue Architecture Is A Dialogue
Nouvel‘s Serpentine Gallery Pavilion will operate as a public space, a café and as a venue for Park Nights, the Gallery‘s acclaimed programme of public talks and events, which attracts up to 250,000 visitors each summer. The pavilion design highlights the idea of play with its incorporation of traditional French outdoor table-tennis tables.
Pops up wherever you wish
Mobile Cultural Mobilizarte Pops up wherever you wish
There are designers who can simply glamorize a product. For them design simply means embellishment. They simply rework a product in more valuable material to add value. But I feel the real creative designer are those who design or create products that adds to the convenience and are valuable in terms of its increased usefulness.
The Mobilizarte design competition has seen many such designs and the winner of the competition has also been announced. But more intriguing designs are still flowing in and some of them really have the capability to stun you with their innovative concept.
It can be installed and dismantled easily
Pops up wherever you wish
The flexible pavilion can accommodate any site
The design or the concept that really impressed us is the one for the mobile pavilion. The Mobile Cultural Mobilizarte is basically a lacy inflatable pavilion which has been designed through a collaboration between Frentes Arquitetura and PAX.ARQ.
Mobile Cultural Mobilizarte is an ephemeral and itinerant pavilion and is bound to become popular for mobile exhibitions and popup stores.
Pops up wherever you wish
With the trend of pop up stores picking up in a big way in the luxury sector these mobile inflatable pavilions will come in very handy to create stylish temporary stores which can be put together quickly and dismantled as quickly.
The inflatable membrane can cover existing buildings
The flexible shape of the inflatable membrane helps the designers
The flexible pavilion is designed in such a way that it can be installed very easily and can accommodate any site and can be modified on the site as per the requirement.
The pavilion can literally pop up in five days like a circus tent. The elements that go into making the pop-up pavilion are all transportable and fit into two shipping containers.
There will never be an equal display of the Mobilizarte Module in different cities. Even integrated and interdependent, each one of the three basic elements will establish its own relationship with the site where it is installed. Resonant, the project is based on a system able to be transformed over time and space, assuming several characteristics and extraordinary shapes.
Pops up wherever you wish
Its spatial rhythm will create striking perspectives for those who see it from afar as well as for those inside it. Adapting itself to the spatial context of each site, this Mobilizarte Module can be installed as an independent space on flat or inclined grounds, incorporated to an existing building, absorbing it symbiotically or can be attached to the building, as its extension.
Throughout the several installation possibilities conveying different shapes for the whole, this Module is designed to be ideal for cultural events in each of the 10 feature cities. Highly flexible, the spaces may be altered, densified, dissolved, recombined, renewed or suppressed as to give rise to forms that meet the needs over time, becoming an alive ‗open work‘.
The spatial form which create striking perspectives
There are three elements that go into making up the pavilion, namely the scaffoldings, prism towers and an inflatable membrane.
Membrane Inspired by two traditional Brazilian elements that serve to cover and protect, which are the crochet, lace and patchwork quilts, and the hollow elements (―cobogós‖), construction material that is widely used on the facades of our buildings, we created the main conceptual feature of this Mobilizarte Module: a huge Inflatable Membrane, dramatically shaping the inner and outer spaces through its undulating movements, refusing to settle down and yearning to be mutant. Its primary function is to cover and protect from the weather. Tilted, tumbled, hung, laid, stretched, twirled and languidly spread, during the day this area of ‖ inflatable fabric ‖ will shade the space; at night it will become a source of lighting, a huge floating body hovering above the ground.
Above : plan On the left : section
Pops up wherever you wish
Prism Measuring 15m high, built of scaffolding, consisting of four pavements whose floors are sustained by inflatable beams, it is wrapped in a plastic waterproof canvas, besides being the vertical reference of the intervention, transforming the spaces according to its position, like a large panel, it has the function of sheltering areas of technical collection and general storage, also serving as a film projection screen.
On this remarkable and enigmatic white monolith, we are able to project two films simultaneously, on each of its main faces. Isolated or incorporated, ―deterritorialized‖ or telluric, nomad or linked, dependent or autonomous, fixed or dynamic but always resolute, this Prism can be mounted outside or inside, near or far from the Module, forming different and heterogeneous sets, but whose whole shall keep the same character.
Transportation: 3 containers : the first will carry scaffolding and other steel accessories; the second will carry all inflatable and folding elements (24 -12x12m- modules of the inflatable cover membrane + 50 units of inflatable beams + 650 m² of plastic canvas); the third one will carry floor panels and polycarbonate closings Facade: polycarbonate panels + high strength plastic canvas
Exhibition area: 550 m²(of the 550 m², 140 m² represents the mezzanine area we have created within this space) Covered outdoor area to meet / eat, ticket booth and bookstore spaces: 300 m² Open and shaded outdoor area: 250 m² (not computable)
Materials : inflatable membrane. (24 -12x12mmodules, in that 6 modules feature double layer of protection against rain and UV rays)
Floor: wall type floor panels or similar
Primary Structure: scaffolding.
Secondary Structure: inflatable beams with tensairity technology.
Pops up wherever you wish
Roof:
Storage area: 150 m² Total area: 1,000 m²
(expandable to 3,500 m², which represents the total size of the inflatable cover membrane. The total area can be reduced without jeopardizing the architectonic quality of the ensemble).
Step 3 : The membrane is raised up onto the scaffolding just like a circus tent
Pops up wherever you wish Pops up wherever you wish
Step 1 : Inspired by two traditional Brazilian elements that serve to cover and protect, which are the crochet, lace and patchwork quilts, and the hollow elements (―cobogós‖), the membrane is made from inflatable beams and a waterproof and UV layer.
Step 5 : iIflatable beams with tensairity technology are put as secondary structure
Step 2 : Raising the scaffolding
Step 4 : The membrane can be twisted, tilted, tumbled, hung, laid, stretched, twirled or languidly spread to create hundreds of variations for the pavilion.
Step 6 : The membrane covers the secondary structure later
The central idea of Tensairity is to use low pressure air to stabilize compression elements against buckling. The basic Tensairity girder consists of a simple airbeam (a low pressure fabric tube), a compression element tightly connected to the airbeam and two cables running in a spiral form around the airbeam. Struts and cables, these are exactly the elements that Tensairity adds to the simple air beam to yield ultra light membrane structures very strong. The protected brand name Tensairity indicates the close relationship to the filigree structures made of struts and cables known as Tensegrity.
Pops up wherever you wish
Basic principles :
Pops up wherever you wish
Tensairity is a revolutionary light weight beam element developed by Airlight Ldt. The synergetic combination of an airbeam, cables and struts leads to this extraordinary light weight structure, using very low internal pressure but with the load bearing capacity of conventional steel girders.
•Air pressure is a stabilizing element only •Air pressure doesn‘t carry any load •Air pressure is independent of span •Loads are carried by cables and struts •Air pressure replaces vertical struts •There are compression and traction only
Pops up wherever you wish Basic elements of a Tensairity beam
Pops up wherever you wish
Demonstration prototype of a Tensairity actor. The load is lifted by increasing the pressure in the Tensairity cantilever.
In these structures, tension and compression are physically separated into cables and struts making the struts to appear as free floating. Under load, the tension in the cables increases. This force is transferred to the compression element which becomes prone to buckling. However, due to the firm connection of the compression element with the airbeam membrane, buckling is prevented. As in the theory of beams on elastic foundation, the compression element is stabilized against buckling by the compressed air. Therefore, the compression element can be loaded to the material yield limit. The major property of Tensairity is that the air pressure is solely given by the external load and is independent of the span and slenderness of the beam. The load bearing capacity of Tensairity is, by orders of magnitudes higher than for the traditional air beam.
Web References : http://www.gizmag.com/inflatable-portablepavilion/18983/ http://www.archdaily.com/142864/mobilizart e-frentes-arquitetura-pax-arq/ http://www.buildair.com/en/tensairitystructures.html
http://www.technetalliance.com/uploads/tx_caeworld/Airligh t_Tensairity_Basic_principles
Florence As A Brand
Introduction
FLORENCE, capital of the region of Tuscany, has a population of around half a million inhabitants, spreads on the banks of the Arno, between the Adriatic and the Tyrrhenian seas, almost in the middle of the Italian peninsula. It is a city which bustles with industry and craft, commerce and culture, art and science.
Florence‘s Foundations
Florence Florence As A Brand Florence As A Brand The foundation of Florence dates back to Roman times, despite evidence existing to show that Florence was already occupied in prehistoric times. The oldest part of the city bears the imprint of these Roman origins as it originated as one of Caesar's colonies. For the sake of defense, the city was set at the confluence of two streams, the Arno and the Mugnone, where the oldest populations had previously been located. Rectangular in plan, it was enclosed in a wall about 1800 meters long. The built-up area, like all the cities founded by the Romans, was characterized by straight roads which crossed at right angles. The two main roads led to four towered gates and converged on a central square, the forum urbis, now Piazza della Repubblica, where the Curia and the Temple dedicated to the Capitoline Triad (Jupiter, Juno, and Minerva) were later to rise.
Piazza della Repubblica is now the home of many public events
Art And Culture Of Florence
Florence Florence As A Brand Florence As A Brand
Florence Business The new portal for territorial marketing of the metropolitan area of Florence. Florence is not just a beautiful city full of art, history and culture, but is also one of the most important business centres of Italy where many small and medium enterprises, as well as large multinational corporations, produce advanced products from fashion to handicrafts, from machinery to high technology. Firenze Business promotes the excellence of the Florence area with a view to attracting the finest human, technological, financial and entrepreneurial resources.
Italian art has engendered great public interest and involvement, resulting in the consistent production of monumental and spectacular works. In addition, Italian art has nearly always been closely allied with the intellectual and/or religious currents of its day while retaining its own remarkable past as a continual source of inspiration. Florence is called the capital of arts; according to statistics produced by UNESCO, 60% of the world's most important works of art are located in Italy and approximately half of these are in Florence.
Web Reference : http://www.aboutflorence.com/monuments-inFlorence.html
Public Events Of Florence
Florence Florence As A Brand Florence As A Brand There are many cultural events happening in the city which involve the public . Here‘s one example :
FESTIVAL OF CREATIVITY The Festival of Creativity is a really important event in Italy, and it‘s entirely dedicated to the world of communication, art and creativity. Every year in October, the Fortezza da Basso in Florence houses this great festival, which on each edition, brings into the city thousands visitors among tourists, students or just curious people who roam between the wonderful pavilions of creativity. Every year, the event is made up of several different sections, each one dedicated to a peculiar way to express creativity: from fashion to design and even music, art, technology, poetry, virtual world. The Festival of Creativity is almost a parallel universe thrown towards art and culture, reigned by experimentation and innovation. Creativity as synonym of imagination and fantasy, but also new proposals to improve reality. Web Reference : http://2010.festivaldellacreativita.it/
Inspiring Elements Of Florence
BRIDGES
Florence Florence As A Brand Florence As A Brand There are a lot of elements , from monuments to materials and colors , which can represent the city of Florence . The elements which are taken into consideration in this projects study are as below :
The city is practically divided into two Northern and Southern zones by the river ―Arno‖ . Therefore it obliges the city to have many bridges to connect the two parts. Web Reference : http://www.thais.it/citta_italiane/f irenze/index/pontevecchio/pag_01. htm
So a bridge is a famous element in the city. ―Ponte Vecchio‖ which is the oldest bridge of the city is one of the most popular tourist spots in Florence.
This is the oldest bridge which crosses the Arno at its widest point. It dates back to Roman times and has often been rebuilt. After the flooding of 1333 it was re-constructed with a double row of shops, passing from a defencive type of architecture to the actual public one. In 1565 the eastfacing Vasariano Corridor above the shops was built and the back-shops were added in the seventeenth century giving the bridge its actual structure.
Inspiring Elements Of Florence
CITY GATES
Florence Florence As A Brand Florence As A Brand Porta alla Croce one of the ancient city gates
The city walls during different periods
Like Other Roman cities Florence used to have a city wall . The city walls surrounding Florence have been widened and rebuilt six different times, but only the last two walls protected also the quarters of Oltrarno. Therefore there are still some city gates which could survive through the time . These city gates which are called ―Porta‖ in Italian are now an inheritage which could be used as a symbol for the cities. Web Reference : http://it.wikipedia.org/wiki/Porta_al _Prato http://www.panoramicearth.co m/5410/Florence/Piazza_Cesa re_Beccaria
When first built Piazza Beccaria was known as 'Piazza alla Croce' after the Porta alla Croce (Gate of the Cross) found in the middle. This is one of the city gates, built in 1284 as part of the fortifications of Florence Porta al Prato one of the ancient city gates
This is one of the oldest surviving gates of the city, and dates back to 1285 , when he began the sixth circle of walls . Like the other city gates were lowered in 1526, to be less vulnerable to attack by the new artillery, and the occasion was covered loggia with the sloping roof, the top of which is a sign metal vane.
Inspiring Elements Of Florence
Pietra Forte ; Pietra Serena
Florence Florence As A Brand Florence As A Brand Solidity, strength, and beauty: these are the features of the Pietra Forte Fiorentina, the preferred material of Antonio da Sangallo the Elder at the end of the 15th century. These characteristics made it the stone of choice for the battlements of Firenzuola, still standing today. Traditional Tuscan stone retains its rustic look in many decorative solution from walkways to cladding, always with a natural finish surface. The two types of stone you see commonly around Florence: pietraforte and pietra serena. Translated, the first is ―strong rock‖ and the second ―serene rock‖ – probably for its grayish color which lends a serene aspect where ever it is used. Both are types of sandstone. Pietraforte is often used outside because it is strong and resistant to the elements. Pietra serena is mostly used for architectural details outside and inside. There are exceptions of course, like the Uffizi uses quite a bit of pietra serena, structurally, outside. Web Reference : http://travelmarx.blogspot.com/2008/03/ pietraforte-and-pietre-serena-of.html
Pietraforte has a very characteristic, honey-brown color that works well in early morning or late afternoon light (when the sun is at an angle). The most famous examples of buildings and structures using this stone are the Pitti Palace, Palazzo Vecchio, Ponte Vecchio, and Ponte Trinità to name a few. In Renaissance times, pietraforte came from a quarry ("cava") where the Boboli Garden is today. Via della Cava took you to the quarry, one can assume.
Pietra serena as mentioned is grayish. Examples outside include the Uffizi and in the pilasters of the loggia of Santissima Annuziata. In Renaissance times, pietra serena came from the Fiesole area. So pietra serena came from north of the Arno River and pietraforte from the south of the Arno. Today, this isn't true as new sources were discovered.