................... Brandscaping ............ Guerrilla Marketing
................... Urban Center ............ Temporary Pavilions ......... The Barcelona Pavilion ............ The Living Pavilion ............ Florence as a brand ..................... FLORENCity
from an apple…
…to THE apple
BRAND: A brand is a name, design, symbol, that distinguishes the goods or services of Sone seller from those of competitors through the application of an added value. from Design-Dictionary
BRANDING: It’s the process of the development of the brand; which aim consists in the establlishment and construction of the image of the brand in the mind of the consumer. In today’s oversatured and increasingly complex markets, consumers can often feel overwhelmed; with the branding activity a brand provides the consumers a consistent point of reference. from Design-Dictionary
«Brand is the personality that identifies the product»
BRANDISM: It’s the branding process referred to architecture; with the aim of creating and improving the identity of a place. It’s a way to put the beauty and utility toghether (as Renzo Piano said) in order to create a personality to the designed product. With «utility» here we mean focusing on cultural and characteristic elements of the location to enhance the power and the growth of the area itself.
BRANDSCAPING: It’s the process of giving an identity, a personality to a project starting from the characteristics, the traditions, the resources already present in the place (*inside-out method). It’s the process of creating a net of relations, events and people that will increase the value of the place.
«Brandism is the personality that identifies the architecture»
It’s a set of techniques used to communicate a message in an unconventional way, with the purpose of obtaining the maximun visibility with the minimum effort. How: There is not a general rule to communicate those messages. It depends on the idea that has to be communicated. Emotions at first: surprise, astonishment, curiosity, amusement, attraction, interest and so on.
«A conflict is not a product but a product it’s almost a matter of conflict»
Killah clothes. Distributing clothangers Nikon camera. Interactive advertisement near the shop KitKat. Bench at a bus stop
It can be used by brands to promote their products creating expectation and curiosity around that product.
It can be used by people to sell their services
The african edition of Commercial Trader, magazine specialized in the industrial and farmer equipments, excluded from the NAMPO Agricultural Trade Show, a 35,000 visitor event, located in front of all the B&B near to the area a carpet with a tractor. The trimmed part contained a short message ÂŤYour number one resource for harvestingÂť, with a phone contact. Brilliant and concise!
ÂŤMothers against drunk drivingÂť campaing. Posted in toilets of disco clubs
It can be used to sensitize people on problems of social importance
The supermodel Gisele plays this flashmob in the internatioinal airport of Sao Paulo, to advertise the choice of channels of Sky. http://www.youtube.com/watch?v=snWiKV3uhL4 &feature=player_embedded
20-04-2009 9,00am 100 Single Ladies stop traffic with Beyonce's famous leggy dance in Piccadilly Circus, to celebrate the announcement by Trident of its free Beyonce gig in November. http://www.youtube.com/watch?v=OLj5zphusLw
The role of urban centers in the last few years has shown to be more and more important in the city life. It has come to be clearer every day the pushing desire of the population in taking part in social life of their environment and not only. Nowadays the vision of the city as a contrast between public/private dimensions it’s almost outdated; by here comes the proliferation of an extraordinary number of people interested in social activities and in places where to meet up and rise their voices.
ÂŤNew season of partecipative interaction in city and social transformationsÂť
What Architecture can do to satisfy this increasing need of assemble and actively partecipate?
Key points characterising the architecture of an Urban Center:
Projecting, promoting and developing privileged spaces, promoters of innovation and culture
Recognability Presence in the territory Physical and virtual base Adaptability Easy access Sustainability Innovation Renovation
ÂŤUrban centers provide a set for new debate opportunities and more effective dialogue toolsÂť
Distribution and diffusion of urban centers in Europe: 1975-Oslo-Architekturmuseet 1980-Bordeaux-Arc en Reue Centre d’Architecture 1986-Amsterdam-Arcam Architectuurcentrum 1988-Paris-Pavilion de l’Arsenal 1993-rotterdam-NAI Building 1933-Wien-Architekturzentrum 1999-Nice-Forum d’Urbanisme et d’Architecture 2001-Milan-Urban Center 2001-Turin-Atrium 2003-Bologna-E.Bo
Opening date: In 1986 the Center for Architecture in Amsterdam was housed in a 17th century warehouse near the Academy of Architecture in Waterloo. In the fall of 2003 the new headquarters were inaugurated located in a Amstelstraat specially designed new building, near many cultural institutions. Layout of functions: The new building has three floors connected by a large empty space. The offices are located on the top floor. The lower floor is for meeting places and receipt for school groups. The ground floor is occupied by Amstelstraat exhibition and information center. Activities: Arcam has the goal of informing and educating citizens to problems of contemporary urbanism and architecture. It organizes: a) temporary exhibitions of plans and projects b) permanent information point for citizens and tourists on modern and contemporary city c) guide book and digital apps* for modern and contemporary architecture in Amsterdam d) guided tours, educational activities and outreach on issues of urban transformations and modern architecture e) publication of information material
Architecture app UAR* Together with the Amsterdam Centre for Architecture ARCAM, the Netherlands Architecture Institute launched the Amsterdam edition of the free 3D architecture application UAR (Urban Augmented Reality).
UAR provides information, by means of texts, images, archive material and films, about the built environment on your mobile phone. What is unique is that, by means of augmented reality, this application enables you to see in 3D what the city will look like in the future, what it used to look like and what it might have looked like. Due to the addition of advanced 3D models, made by DPI Animation House, it is possible to see ‘what is not there’. For example, the old Ajax stadium De Meer, an alternative design for the Rijksmuseum and the new film museum can be viewed in all its glory by means of UAR. Amsterdam is the first city after Rotterdam to be included in the application
http://www.arcam.nl/algemeen/592_uk.html
One of the many effects of the world recession and economic problems is the decline of the attitude in creating grandiose, long-lasting buildings. So that, a wave of new temporary buildings and architectural is sweeping all over the planet. These can have uses from emergency relief to concert or performance venues, to the exhibition of fair design, to show new trends in fashion, jewelry or design, to host social initiatives and so on. As the world run so fast in the last decades it’s funny to see how architecture have found a way to keep up with the times. This new dynamic architecture reflects the fleeting and ephemeral side of our globalized and commercialized life.
Toyo Ito– Serpentine Gallery 2002 Zaha Hadid – Burnham Pavilion, Chicago 2009
Daniel Libeskind – Serpentine Gallery 2001
Boxel Pavilion – Detmold School, Germany 2010
Mies Van der Rohe
The Barcelona Pavilion, 1929
Mies Van der Rohe
The Barcelona Pavilion, designed by Ludwig Mies van der Rohe, was the German Pavilion for the “1929 International Exposition in Barcelona” Spain. This building was used for the official opening of the German section of the exhibition. It was an important building in the history of modern architecture, known for its simple, open space form, for extravagant materials, and for the designed furniture.
The Barcelona Pavilion, 1929
In the years following World War I, Germany started to turn around. The pavilion for the Universal Exhibition was supposed to represent the new Weimar Germany: democratic, culturally progressive, prospering, and thoroughly pacifist; a self-portrait through architecture. The Commissioner, Georg von Schnitzler said it should give "voice to the spirit of a new era". This concept was carried out with the realization of the "free plan" and the "floating room“.
Mies Van der Rohe
Because this was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930, not even a year after it was completed. As time went by, it became a key point of reference not only in Mies van der Rohe's own career but also in twentiethcentury architecture as a whole. In 1980 Oriol Bohigas, as head of the Urban Planning Department at the Barcelona City Council, set the project in motion, designating a group of to research, design and supervise the reconstruction of the Pavilion. Thanks to black-and-white photos and original plans, they managed to do that. Work began in 1983 and the new building was opened on its original site in 1986.
The Barcelona Pavilion, 1929
Mies Van der Rohe
The Barcelona Pavilion, 1929 Mies's response to the proposal by von Schnitzler was radical. The pavilion was going to be bare, no trade exhibits, just the structure accompanying a single sculpture and purpose-designed furniture. This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure —a regular grid of cruciform steel columns interspersed by freely spaced planes". Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to "block" any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the "Spanish Village". The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.
Mies Van der Rohe
The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another Ushaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe sits(*). The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof plane down, not to be bearing its weight.
The Barcelona Pavilion, 1929
Mies Van der Rohe
Another unique feature of this bulding is the exotic materials Mies chooses to use. Glass, steel and four different kinds of marble (Roman travertine, green Alpine marble, ancient green marble from Greece golden onyx from the Atlas Mountains).
The Barcelona Pavilion, 1929
Mies van der Rohe's originality in the use of materials lay not so much in novelty as in the ideal of modernity they expressed through the rigour of their geometry, the precision of the pieces and the clarity of their assembly.
Mies Van der Rohe
The Barcelona chair Mies van der Rohe designed a chair, especially for the Pavilion, consisting of a leatherupholstered metallic profile that over the years has become an icon of modern design. To such an extent, in fact, that the Barcelona chair is still manufactured and marketed today.
The Barcelona Pavilion, 1929
Mies Van der Rohe
Georg
Kolbe's
sculpture
The sculpture is a bronze reproduction of the piece entitled Alba (Dawn) by Georg Kolbe, a contemporary of Mies van der Rohe's. Masterfully placed at one end of the small pond, the sculpture is reflected not only in the water but also in the marble and glass, thereby creating the sensation that it is multiplied in space, while its curves contrast with the geometrical purity of the building.
The Barcelona Pavilion, 1929
The Living Pavilion
Behin+HA Governor’s Island, New York 2010
The Living Pavilion Living Pavilion is “low-tech, low-impact” architectural installation, consisting almost entirely of milk crates and natural flora. Similar a green wall, the plants were inserted into the milk crates to provide a “synthesis of form, structure, light and life”, composed mainly of hanging plants shade tolerant. Because of its technical ingenious construction, installation can be easily removed as the summer winds down and the milk crates planted divided between New York City.
Behin+HA Governor’s Island, New York 2010
The Living Pavilion The structure is made by plywood ribs comprised of two layers fastened and glued weather-treated with single coat water seal. On both sides of the ribs are attached PVC spacers which provides standoff at attachment points between the rib and the crates. The foundations are made of pressure-treater lumber.
Behin+HA Governor’s Island, New York 2010 Regarding the construction process, Behin Ha explain: “CNC routing plywood ribs allowed us to incorporate features that have recorded all the parts in the assembly, thus eliminating all time measurements manual alignment and accelerate the process of assembling”.
The Living Pavilion Among the rib structure are included 460 milk crates used as planters for a specific shade tolerent species of plant called Liriope (2500 exemplaries). The top side of the crates is planted with grass seeds that helps keep the roots of the liriope shaded and cool. Some milk crates are left unplanted on the south side of the structure to serve as „light pockets‟ that allow small amounts of light to trickle into the pavilion. Milk crates are purchased from Admar Plastics, a company that manufactures and uses up to 15– 20% re-processed resin from old crates that were bought back from previous customers.
Behin+HA Governor’s Island, New York 2010
The Living Pavilion The large planted surface area stimulates evapotranspiration, which helps keep visitors nice and cool. The designers considered the full life-cycle of the project by making sure every step impacts the environment as little as possible. From the preparation of the milk crates that involved the whole student‟s body, to the transportation and assembly; one of the students run an apposite blog on the web to keep the pubic updated on every step of the construction. There were also made announcements to ask people to take part actively in the assembly and disassembly of the structure.
Behin+HA Governor’s Island, New York 2010
“Not only the act of building proactive lead members of the local community with a common goal, but the design itself, seeks to embody and communicate the ethics of reuse, recycling and re-purposing, educating members of the public passing quietly on the ease and accessibility of sustainable design”. Dany‟s Blog: http://builtecology.blogspot.com/2010/05/l iving-pavilion-dispatch-1.html
«What Florence is, for ME»
HISTORY PROPORTIONS BEAUTIFULNESS
« W h a t F l o r e n c e i s N O T, f o r M E »
CONTEMPORANEITY INNOVATION PARTICIPATION
1865 Florence becomes the capital city of Italy Giuseppe Poggi has the mission of creating a new image for the city. More modern, more appropriate. He decides to create the new living artherias of the city, the boulevards, on the traces of the old walls of the city built in 1282, almost six century before, but still vital for the city...
...And he ÂŤcreatesÂť the city as we know it today.
«What Florence should DO, for ME»
Create a new image of Florence that will contribute to the construction of a changing environment that better respond to the contemporary lifestyle of our delocalized society
How: using our history with a new language. The language of the world
LORENCi t y E
ident
WHY
Florence today needs a new incentive to approach to the future. It lacks in innovative structures, which are already very popular all ove Europe, that contribute to the creation of a more globalized image of the city. More involved and involving. Thhis kind of structures are URBAN CENTERS.
W H A TH O W
COMUNICATION MEETING area PARTICIPATION WORKSHOP area INFORMATION What’s up? Led TV wall
THE LEGO PROJECT MANAGEMENT METHOD “Rule number one for a project manager is break everything down, organize, order the pieces, and plan how to put them together to accomplish the end goal”
COMUNICATION MEETING area
A big area assigned to host: EXHIBITIONS CITIZEN REUNIONS DEBATES CONVENTIONS PERFORMANCED
Open space zone equipped with: MOVABLE DIVIDERS PLIABLE SEATS WALL MONITORS
PARTICIPATION WORKSHOP area
Another big area assigned to develop: PROJECTS SOCIAL INITIATIVES EXPERIMENTS
A laboratory where: Projecting things with recycled materials and innovative procedures inviting people to join or to suggest their own ideas to improve the image of Florence
INFORMATION WHAT’s up? Led TV wall camera 13 22 11 2011 15:57:1255
A whole wall covered by LED TV’s display in REAL TIME what is happening throughout the city. Scattered around the city other led tv’s show what is happening in the Urban Center. Keep in touch with the city!
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........ The Design-Dictionary by Michael Erlhoff .....
http://pan.o-one.net/cafe/?tag=guerrilla-marketing http://www.ffwdblog.it/tag/guerrilla/
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http://www.comune.bergamo.it/upload/bergamo_ecm8 /gestionedocumentale/ricerca%20urban%20center[1] _4802.pdf http://www.taschen.com/pages/en/catalogue/archit ecture/all/04451/facts.temporary_architecture_no w.htm
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http://en.wikipedia.org/wiki/Barcelona_Pavilion http://www.miesbcn.com/en/pavilion.html
......http://inhabitat.com/green-walled-living-paviliongarden-sprouts-on-governors-island/
............ Images from Wikipedia and Google Maps ............
Images from Google search
http://www.linkedin.com/answers/businessoperations/project-management/OPS_PRJ/599502-1762601