Rethinking Architecture Through Branding

RETHINKING ARCHITECTURE THROUGH BRANDING BY

FAHED BAKER

Thesis submitted to the Department of Architecture in partial fulfillment of the requirements for the degree of Master of Architecture

University of Hartford College of Engineering, Technology, and Architecture Department of Architecture

RETHINKING ARCHITECTURE THROUGH BRANDING

By Fahed Y. Baker Bachelor of Architecture, August 2004 Islamic University of Gaza

Thesis submitted to the Department of Architecture in partial fulfillment of the requirements for the degree of Master of Architecture May 2017 Department of Architecture College of Engineering, Technology, and Architecture University of Hartford Š 2017 Fahed Baker. All rights reserved.

Tyler Smith, FAIA Thesis Supervisor Department of Architecture

Daniel Davis, AIA, LEED bd+c Thesis Coordinator Graduate Program Director Department of Architecture

Louis Manzione, PhD Dean College of Engineering, Technology, and Architecture

TO MY PARENTS WHO HAVE ENDLESSLY SUPPORTED ME AND ESSENTIALLY INSPIRED EVERY ASPECT OF MY LIFE.

I

TO MY WIFE AND OUR THREE DAUGHTERS WHO HAVE BEEN PATIENT, SUPPORTIVE, AND A LIMITLESS SOURCE OF ENERGY TO PURSUE THIS JOURNEY. ACKNOWLEDGMENTS I would like to express my gratitude to all the people who devoted their time and effort to help improve and refine this thesis since its early stages with great deal of passion and enthusiasm. My special thanks namely go to: Prof. Daniel Davies, AIA, LEED AP Prof. Tyler Smith, FAIA Prof. Imdat As, DDes Prof. Theodore Sawruk Prof. Micheal J. Crosbie, PhD Prof. Ioana Barac

Thesis Coordinator Thesis Supervisor Project Advisor Research Advisor Thesis Reader Thesis Reader

CONTENTS II

ABSTRACT

CHAPTER 3: HYPERLINK

CHAPTER 1: PROPOSITION

Hyperlink, Think, Make, Work Project Program Site Analysis First Review, Feb 17th Midterm Review, Mar 17th Final Review, Apr 24th

About Branding Branding and Architecture Freedom of Expression Expressive Tectonics

04 05 06 07

CHAPTER 2: CASE STUDIES James Bogardus (1800-1874) Museum of Modern Art, NY Museum of Modern Art, SF Starbucks Coffee Store, JP Louis Vuitton Store, JP California Academy of Science, CA Commerzbank Headquarters, GR

35 37 41 49 53 57

CONCLUSIONS 11 13 17 21 25 27 29

INTERVIEWS Michael J Crosbie, PhD, FAIA Susan Blomquist, AIA, LEED BIBLIOGRAPHY

77 78

ABSTRACT III

IN RESPONSE TO THE RECENT EXPANSIONS OF THE CONCEPT OF BRANDING BEYOND THE COMMERCIAL VALUE, HOW ARCHITECTURE CAN HELP ESTABLISH A BRAND IDENTITY? This research focuses on studying the physiognomy of architecture to explore its potential for communicative inferences. For that, structural morphing experiment is engaged to analyze the meanings represented by the architectural forms. Visual analysis for branding and architecture case studies is performed to understand their semiotic approach. The findings of the analyses are applied in an experimental design for a work environment with multiple functions that showcases a cohesive

branding and architecture. The concept of the project seeks to transform the traditional work environment into public nexuses. It explores the relationships between the structural and the decorative; the open and the enclosed; and the form and the function. The value of this study lies in its new approach to the visual perception of architecture that intersects with branding as a tool for identity representation.

CHAPTER 01

01

RETHINkING ARCHITECTuRE THRouGH BRANDING

CHAPTER 1 PROPOSITION

This chapter sets the boundaries of the research and focuses on the relationship between architecture and branding as design driven disciplines. It analyzes the similarities and differences between both fields on the levels of approach, process, and production. This part concludes to the thesis preposition which posits the foundational argument through which the design project is justified in the third chapter.

CHAPTER 01

02

CHAPTER 01

PRoPoSITIoN

PoSITIoN PAPER

1. Marketing 03

The concept of branding is commonly used in securing markets for products. However, the growth of the discipline has been evident recently on many social and cultural levels. The thriving need for marketing displays produced the arbitrary exploitation of the available visual spaces by branding media, including the architectural surfaces. A rising debate over the buried architectural qualities behind the print and digital media surfaces, stimulates the pursuit of research to resolve the correlation between Branding and Architecture. one of the early attempts to analyze the relation between signage and architecture was Learning from Las Vegas 1. The book discussed the communicative qualities of the massive ads and signs of the main street in Las Vegas. The authors of the book formed two typologies of architecture, the Duck as a metaphor for the iconic architecture that is heroic and deconstructive; and the Decorated Shed that represents the simplistic approach to the logic and function of architecture. In the summary, they critiqued the modern architecture for iconography and recommended the mannerist approach.2 1 2

Venturi, R., Scott Brown, D., & Izenour, S. (1977). Learning from las Vegas. MIT Press.

Ibid., Summary, page 162.

With the late advances in digital media, branding have surpassed the methods of advertising and signage appeared in Learning from Las Vegas. A discussion appeared on Payette.com questioned the role of architects in reinforcing the client’s brand.3 A recent article published on Archdaily. com discussed the use of large screens and lighting fixtures in a way, similar to how it is used in the Times Square, NY that is dominating to the architectural facades. The article also mentioned the subtle and interweaved uses of lighting effects on architecture, such as those applied in Louis Vuitton, Tokyo.4 Similar discussions may occur between architects and branding consultants on “how architecture could be responsive to brand identities?� The answer to this question lies in understanding the boundaries and intersections between both fields in practical conditions. Both branding and architecture are technically sophisticated, and require similar skills and creativity. Graphic media can offer more flexibility than construction codes and technologies, but the goal of communicating with the public to represent identities is evident in both fields. From that view, architecture and branding has the potential to represent identities in different dimensions.

3 4

Susan Blomquist, S. (2012). Payette.com/Post/ Schielke, T. (2015). Archdaily.com

2. Telemarketing

3. Public Relations

1.

Branding concept continues by Marty Neumeier. ( source: ZAG ,p 40)

RETHINkING ARCHITECTuRE THRouGH BRANDING

CHAPTER 01

4. Advertising 04

3.

5. Graphic Design

6. Branding

2.

Branding concept continues by Marty Neumeier. ( source: ZAG ,p 40)

Gigantic advertisment hung on apartment building exterior as an example of advertising media proliferation, Cleveland, oH ( source: www.thehill.com)

ABOUT BRANDING The concept of branding is considered since the dawn of history, when our ancestors stamped the walls of the caves with their hand palms. It is evident in what was discovered on the tools from signs and symbols, either to mark them or to give them a certain description. The extensive use of symbols in the ancient history is evident since the pharaohs. The heliographic markings and signs represented the most significant concepts of their time, gods, deities, and kings. Temple façades provided the space to keep the record of their significant stories and triumphs for thousands of years.5 [Image for the heliographic language] Branding has been practiced to signify ownership of property, to identify membership to a community, or to reflect a certain power or denomination. As what oren Arnold wrote in Irons in the Fire: Cattle Brand

5

Slade-Brooking, C. (2016). page

Lore: “For at least 4,000 years, man has marked cattle with red-hot branding irons to prove his ownership. Literally millions of designs have been originated - some romantic, some dignified, some even comical - to distinguish herds. There is a true story behind every brand, frequently a tragedy, a comedy, a tender romance, more often a proclamation of hope.�

The evolution of branding started by the growth of the marketplace. In the nineteenth century, the industrial revolution led to the development of the mass market. Traders and merchants started to promote their products to gain reputation and increase sales. This notion has expanded to become a necessity for marketing by the emergence of large and worldwide companies.

In the late twentieth century, it has become an independent discipline that is provided by professional individuals and agencies. Today, brands have become an integral part of the society. They are more than just a product. They

CHAPTER 01

PRoPoSITIoN

4.

05

The unique tectonic structure of the Centre Georges Pompidou creates an identity for the building. ( source: Archdaily. com)

are as relevant to businesses as to services.

They can be applied to ideas, concepts, individuals, and institutions. 6 Branding in its modern sense may be defined as a disciplined process used to build awareness and extend loyalty. It aims to represent an identity through media to connect emotionally with people and creates strong relationships.

The media of branding encompasses all ways of communication with the human senses. The applications of branding has been largely known in the forms of print and digital graphics. Yet it is also relevant to speeches, publications, and the environment. 7 [Figure show the media of brand] Brands are presented graphically through a number of elements that create the brand identity. The most important element is the signature of the brand, or the logo. The logo is a graphic symbol that may contain text, shape, or both that conveys a meaning relevant to the brand. The other elements of the brand, such as colors, textures, sounds, and visuals, are designed to harmonized and embrace the meaning of the logo. The role of branding is manage the design of all elements to produce strong and coherent image of the branded entity.

6 7

Slade-Brooking, C. (2016). What is a brand?, page 12.

Wheeler, A. (2009). page

BRANDING AND ARCHITECTURE Perhaps one of the broadest conceptions about architecture is its profound relation to the making of place. It means that almost anything perceived by human senses becomes part of the place identification.8 For example, people usually keep memories from places they visit that could be about looks, sounds, smells, touches and even tastes. These memories are usually the first thing they seek to experience if they returned to these places. Architecture as a container for human activities, it forms most of the inhabited manmade environment. For that reason, the relation between man and architecture developed over time to exceed just the need for shelter into many more complex things, like aesthetics. Since the dawn of history, architects have been working extensively to achieve what they deem to be the ideal architecture. They sought to create an architecture that evokes the human senses and carves itself into the memory.

In a similar sense, branding seeks to create an experience that stays in the memory. All the elements of the brand are utilized to serve that purpose. For a company with a blue logo, it is very likely to experience that logo and color on their publications, website, uniforms, cars, and 8

unwin, S. (1997). The identification of place. page

RETHINkING ARCHITECTuRE THRouGH BRANDING

the walls of their offices as well as the external façade of their building. If the logo consists of rectilinear shapes, it is highly unlikely to find circles or tringles. This also apply not only for graphics, but also for the environment as a whole. If the brand is advocating the ecological sustainability, the whole building may express this concept. For example, the whole building of the California Academy of Sciences by Renzo Piano is built under one living roof. The purpose of this process is to set the person who is living that experience to as much exposure to the brand image. For such exposure, the brand identity has to be interesting, meaningful and evocative.

5.

The duck and the decorated shed as presented by Venturi, Scott Brown, and Izenhour ( Source: Learning from Las Vegas).

Despite the similarities between branding and architecture, very few projects achieved the balance between the roles of the two. on one side, this may be attributed to the denigration of the role of branding as what VSBI mentioned in Learning from Las Vegas: “Architects disagree with the signs when they say: if the plan is clear, you can see where to go”. However, most of the airports have the clearest floor plans but that cannot operates without a strong signage system. on the other side, branding agencies seem to reduce the value of the architecture to the maximum area from its surfaces that can be used for signage, or to consider it as a portion of the holistic experience of the brand. [Figure from Wheeler page 19] In most cases, architecture and branding are engaged independently or one comes after the other, which may lead to the domination of the successor. Such as the domination of screens over the buildings of the Times Square in NY, or the domination of the Citibank tower over the brand of the bank.

However, it has been noticed recently that some architectural firms, such as Snøhetta, and branding agencies such as Pentagram, have incorporated a new business models that seek for integration between branding and architecture. Although, some views may consider that the commercial benefit of expanding the

CHAPTER 01

services is the reason behind that,9 it is more important for this study to consider the role of this integration in enhancing the user experience.

FREEDOM OF EXPRESSION The definition of Architecture as “the art of building” is imbued by the foundational similarities between art and architecture. For a significant amount of time, art and architecture were considered as one profession pursued by gifted individuals. The renaissance period was marked by such individuals like Alberti, Bernini, and Michelangelo. With the evolution of construction science, architecture was forced to depart from the realm art into its own. Despite that, art and architecture are still conceived as related fields with common intrinsic values.10 These values may be explored by reviewing the process of creating the work itself. Architecture performed as an exhibit for artworks, also exhibited as an artwork. Many architects attempted the exploration of working along with artist, such as Walter Gropius, or as artists, such as Le Corbusier. Most of the revolutionary theories resonated in both art and architecture with almost equal impact. The main concern for both art and architecture is to present the experience of the maker in a physical form that seeks to animate the feelings and stir the emotions.11 The feelings provoked from experiencing the work of art or architecture, can create a character or an identity for the work itself. It also develops a strong reference to the object that promotes the identity to become an icon.12 Regardless of its validity, iconography has been engaged in architecture in ways that are similar to art. Since the artist is seeking to manifest his personal experience in his work, one could argue, that the freedom of expression

9 Bloomquist, S. (2016). Interview.

10 Nadin, M. (1980). page 11 Ruckstuhl, F. (1916). page 12 Bonta, J. (1980). page

06

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PRoPoSITIoN

seem challenging to apply in architecture.14 Most of the architectural objects are expected to function rather than to communicate. The purpose of the roof is to cover, and the chair is to provide seating. From the semiotic perspective, the experience of the architectural objects tends to convey more than just a functional purpose.15 In Learning from Las Vegas, VSBI argue that both the Duck and the Decorated Shed are valid approaches to semiotics, however they seem to represent different types of architecture.16 By analyzing examples such as Ron champ Chapel

by Le Corbusier, Guggenheim Museum by Gehry, the Duck approach to semiotics becomes apparent in terms of monumentality and symbolic representation. The sculptural form of these examples seem to be static and not willing From another perspective, freedom of expression to evolve. They possess the qualities of the work may not indicate the departure from the of art rather than architecture. From the second conventional tools to obtain unconventional work. approach to semiotics, the arbitrary intervention Despite the many creative ways of drawing, most of branding in the realm of architecture yielded of the highly expressive and iconic paintings many examples such as Walmart, Staples, were painted with oil on canvas. Architecture and Mc Donald’s, which may be classified as as similar to art, may not need to depart from decorated sheds. These disposable structures its tectonic nature to convey an expression. serve as backgrounds for the huge signs of their Architecture is a construction at the first place, names. The image of their brand are usually and it may be considered as a form afterwards. applied to an economic, generic, and sometimes Expression in architecture however, may be temporary structures with minimum attention to engaged through tectonics as art and as poetics the value of the building. They seem to substitute of construction. The verity of expression that the role of architecture in communication with a give the building its unique identity may result more conventional and explicit tool, which is the from the intersection between the properties of sign. building site, type, and structure.13 Contrary to what is perceived about the tectonic EXPRESSIVE TECTONICS nature of architecture, it can offer a great potential to convey expression. 17 Tectonics may The integration between branding and be defined as the design of construction in a architecture may be approached through way that is not only answering the functional interweaving the tectonic and semiotic theories. needs, but also raising the construction to an art According to umberto Eco, semiotics is the form.18 It establishes an approach to understand system of signs through which a communication may occur. Since this definition is valid for understanding the function of language, it may through architecture may not be achieved otherwise. Despite that this argument may not be explicitly stated in the writings of the modernists, its manifestation is evident in their architecture. The TWA flight center designed

by Eero Saarinen in 1962, is an iconic modern architecture that represents the shape of wings as a symbol for the flight center. This is also evident in the late contemporary architecture.

The Millennium Park in Chicago, featured an iconic architecture for the Pritzker Pavilion by Frank Gehry alongside the iconic sculpture of the Cloud Gate by the British artist Anish kapoor.

However, most of the extremist approaches to iconography in architecture may be considered as deconstructive rather than modern.

07

Graphics

6.

Architecture

Applied design model 1: Designing the brand and then imposingit on architecture

Architecture

Branding

Graphics

7.

Applied design model 2: Brand design is inspired by the unique architecture.

Architecture

Identity

Branding

14 15 16

13

Frampton, k. (1995). Introduction, page 2. on the evolving vectors of construction are topos, typos, and tectonics.

Weber, R. (1991). page Leach, N. (1997). umberto Eco, page 174.

Venturi, R., Scott Brown, D., & Izenour, S. (1977). Some definitions using the comparative method, page 87.

17 Frampton, k. (1995). Introduction, page 2.

18 Anderson, S. (1980). Page 83

Branding

8.

Proposed design model: the brand identity can inform the architecture as well as graphics.

RETHINkING ARCHITECTuRE THRouGH BRANDING

Semiotics

Identity

CHAPTER 01

Graphics

Architecture Identity

Brand Identity

Tectonics

Media

08 9.

Diagram showing the theoritical approach.

what is beyond the physical form, or the metaphysical form of architecture. It claims that all of the architectural elements have to be functional.

For an architectural element to be adequately functional, its form give an expression to its function. The concept of tectonic goes back to the art of joinery and assemblage practiced by the Greek craftsmen. The Greek temple was interpreted in Die Tektonik by Botticher as a composition of functionally expressive members with plastic forms that represent its essence.

He believed the elements of Greek architecture were closely related to the construction in terms of expressing the mechanical functions of the structural parts, such as giving support, carrying load, or countering pressure.19 The modern manifestation of the tectonic theory took different forms. The Centre du Pompidou in Paris by Renzo Piano and Richard Rogers, is an extremist example for the functional representation of the architectural elements. The image of the project depends on the display of all structural elements.

The stereotomic structure installed in Starbucks store in Japan by kengo kuma, is another

19

Maulden, R. (1986). Page 57

approaches to tectonics. The intricate form, which is made out of similar pieces of wood, celebrates the art of joinery which is indigenous to the context of the project.

From the posited discourse of the aforesaid theories, the concept of expressing the meaning is present in both arguments. The tectonic theory claims that the structure should express the functionality its elements. The semiotic theory seems to borrow the meaning from an external identity.

If architecture is to represent a brand identity, I claim that it needs to synthesize the meaning and the making. The notion of just expressing the functionality of the architectural elements is far from what branding seeks to convey. Also the separation between the architecture and the brand is disrespectful for both. To achieve that, architecture has to combine its tectonic nature with the semiotic meaning of the brand. It has to depart from being a Duck or a Decorated Shed.

CHAPTER 02

09

PRoPoSITIoN

RETHINkING ARCHITECTuRE THRouGH BRANDING

CHAPTER 2 CASE STUDIES

In this chapter, several precedent studies are cited to cover all the aspects of branding and architecture. The first case-study gives a historical background about branding the architecture. The following two precedents provide a comprehensive analysis of the relation between branding and architecture. The other precedents cover architectural issues like sustainability, envelope, building type, and structure.

CHAPTER 02

10

CHAPTER 02

CASE STuDIES

JAMES BoGARDuS (1800-1874) NEW YoRk, uSA

11

“James Bogardus (March 14, 1800 – April 13, 1874) was an American inventor and architect, the pioneer of American cast-iron architecture, for which he took out a patent in 1850. In the next two decades he demonstrated the use of cast-iron in the construction of building facades, especially in New York City, where he was based, but also in Washington, DC, where three cast-iron structures erected by Bogardus in 1851 were the first such constructions in the capital.

The success of the cast-iron exteriors from 1850-1880 led to the adoption of steel-frame construction for entire buildings.”1 “The tensile strength of cast iron ushered in a new style of building in New York, making possible numerous windows and narrow supporting elements. The façade became virtually permeable, with big, inviting display windows that seemed to dissolve the boundary between street and shop. In 1858 architect and inventor James Bogardus, whose name has become synonymous with cast-iron architecture, wrote that he wanted to emulate the “rich architectural designs of antiquity in modern times, by the aid of cast iron.” His best-known structure, the Harper & Brothers building at Franklin Square on Pearl Street, with its Italianate

1

James Bogardus. www.en.wikipedia.org

columns and arches, gives the impression of modernity while evoking the legitimacy of the past.”2 CONCLUSIONS James Bogardus introduced a new building technology to the public. In order to be successful in producing and selling more of his buildings, he branded his products as versatile and flexible to produce any architectural style.

He proved that branding the technology through architecture is a valid assumption. This may apply to a contemporary architectural proposal that provides the flexibility to be part of the branding process.

Image Source: a. James Bogardus (1800-1874). www.paintingandframe. com/prints b. The first cast-iron house erected at New York. www. digitalcollections.nypl.org/items c. 331 Pearl Street. www.visualizingnyc.org/objects d. New York building illustration. www.studyblue.com

2

331 Pearl Street. www.visualizingnyc.org/objects

10.

James Bogardus. Painting

RETHINkING ARCHITECTuRE THRouGH BRANDING

CHAPTER 02

12

11.

331 Pearl Street [with Harpers Building, designed by James Bogardus with John B. Corlies, 1854]

12.

Illustration, Bogardus cast iron building Newy York, 1848-1849.

13.

Illustration, Bogardus building with elements “ removed” to show the strength of the cast iron frame.

CHAPTER 02

CASE STuDIES

MuSEuM oF MoDERN ART NEW YoRk, uSA

Client: Location: Architect in Charge: Previous Architects: Area: Project Year: Brand Design: Brand Year: 13

Museum of Modern Art 11 West 53rd Street, New York, NY 10019, United States Yoshio Taniguchi Cesar Pelli and Associates, Philip Johnson, Philip Goodwin, Edward Durell Stone.

630,000 sqf 2004 Pentagram, In-house Design Team.

2009

The Museum of Modern Art in Manhattan opened its doors in 1929. It was designed by the architects Philip Goodwin and Edward Durrell Stone. The project witnessed several expansions and additions starting with the sculpture garden in 1953 and then the addition in 1964 by Philip Johnson. In 1984, Cesar Pelli & Associates designed the west expansion. In 2004, the museum had the most recent expansion by Yoshio Taniguchi. The brand of MoMA went through a number of developments. The MoMA brand in its current form was first introduced

by Pentagram in 2009. Due to the extensive use of the brand, the museum developed its own graphic design department, named as the In-house Design Team, to produce the graphic works for the numerous events and exhibitions based on the identity developed by Pentagram.

MOMA ARCHITECTURE: The recent architectural extension worked as a mediator between the chaotic context of the city and the environment needed to explore the art.

It connects the 53rd street and the 54th street through the main lobby of the museum. The new façade extends along the 54th street to contain the sculpture garden and to connect with all MoMA buildings. Taniguchi introduced a new aesthetic to the museum that implies purity and modernity, and contrasts with the richness of the

context. The new design featured highly polished materials and sleek design. The polished black marble reflects the image of the city, and contrasts with the matt finished aluminum surface above the entrance. The designer wanted to emphasize that concept through the precision in details. Several advanced construction techniques were applied to obtain that result. The Archdaily wrote in its review of the project: “Taniguchi achieved the refined, minimal aesthetic by exacting precision in each detail.

The panels on the exterior facades were installed with the least possible tolerance, diminishing the seams to create an apparently continuous surface. Vast panes of glass hang beneath the deep porticoes bounding the Sculpture Garden.

To ensure the glass would not deflect as the museum filled with visitors, the curtain walls were freed from the floor structure. Steel mullions were chosen over the standard aluminum to allow a thinner profile of sufficient strength.”1 The designer’s sketch explained some of the concepts introduced to respond to the context.

The horizontal form of the new extension opposes the verticality of the city skyline. The clear and glossy surfaces of the exterior give a seamless expression of the surfaces. The 14.

1

The Museum of Modern Art, http://www.archdaily.com.

The Museum of Modern Art, the 53rd street entrance.

The latest addition by Yoshio Taniguchi’s in 2004.

RETHINkING ARCHITECTuRE THRouGH BRANDING

15.

CHAPTER 02

Floor plan showing the new extension connecting all the previous museum expansions.

14

16.

Sketch by the architect showing some of the building features which imply the coordination with the brand identity.

17.

The orginal building Facade by Edward Durell Stone.

smooth and shiny materials reflect the city collage and create a strong juxtaposition.

MOMA BRAND: MoMA is dedicated to house the most authentic and compelling artifacts of the modern art in the world. Its message means to establish a deeper understanding of the contemporary art to the international audience. The MoMA brand seeks to reflect this message in its logo and graphic identity. The first branded MoMA logotype was designed back in 1964 by Ivan Chermayeff using the Franklin Gothic No.2 font. In 2004, the font was redrawn by Matthew Carter and named

18.

Interior from the new expansion

MoMA Gothic, to create a bold and iconic identity for the museum. However, the application across web, print, and physical environment was not equally cohesive with the visionary museum itself. The museum engaged Pentagram to design a new graphical system that is powerful and comprehensive. Paula Scher, partner and lead designer for this project, critiqued the old logo: “While the MoMA logo is iconic, it alone is not enough to continually carry the spirit of the institution�. The new system introduced new techniques of showing the artwork on prints, and created a consistent application throughout

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CASE STuDIES

all media.2 The work was continued and further developed by a team of designers that worked in-house to produce the designs for the various exhibitions and products of the museum. The designs produced by the in-house team have variations but carry the same spirit of the system produced by Pentagram. All designs seek to communicate the message of the museum and engage the public on a pedestrian level of the streets or the subway stations.

ANALYSIS:

15

Back in 1929, the concept of branding was not fully developed yet. The first famous logotype was introduced in 1964. Although the MoMA brand at that time was considered as a landmark of institutional branding, it worked independently to represent the identity of the museum through graphic design. It didn’t consider a relation with the building itself as opposed to the artifacts inside. The first major edits applied to the logotype was in 2004, i.e. the same year that Taniguchi was hired to design the recent expansion. The relation might not be explicitly announced, but the timing is a strong evidence of the vision that MoMA sought of having a new and somehow mutually related brand and architecture. This was clear in the architecture designed by Taniguchi, since it has radically changed the theme of the MoMA museums and galleries. The design posited a strong juxtaposition between the building and its context, as well as the exterior and the interior of the building itself. All sensible elements of color, texture, and material emphasized this concept.1 Also the work presented by Pentagram in 2009 focused on having the concept of juxtaposition in the designs. The images of the artifacts were cropped and laid out next to the logotype in a vertical positioning. The logotype situated as black on a white background against the colorful artworks.

2

Wheeler, Alina. Designing Brand Identity: an essential guide for the whole branding team. 2009, page 249.

CONCLUSION: The identity of the museum has special characteristics of having the most authentic and the largest collection of the modern artworks amongst other museums. Its message seeks to invite people and convey the modern art to the world. This needed to be manifest in both recent works of branding and architecture.

The designs proposed by the architect for the physical container of the artifacts utilized the language of architecture to express the openness, modernity, and distinctiveness. The branding system also communicates a similar concept through the digital and print media. The rectilinear form of the museum is comparable to the layout of the branding system. The contrast between the reflective and the matt, the smooth and rough in the building surfaces is matched with the contrast between the colored and colorless, the vertical and the horizontal in the layout. Even the positioning of the sign on the building exterior also reiterates that concept. To conclude, architecture can present the identity of the building through its visual elements and form compositions.

Image Source: a. Archdaily.com/the Museum of Modern Art. b. Pentagram.com/the Museum of Modern Art, Pentagram designed the new, which established for the consistent treatment of images and type. All pictured examples of the new identity were designed by the in-house design team.

19.

Brand system design

20.

Poster applied next to a walk way creating a vibrant pattern.

RETHINkING ARCHITECTuRE THRouGH BRANDING

21.

CHAPTER 02

MoMA Logo application on posters.

16

22.

The consistant application of the brand on the museum signage.

23.

MoMA Logo application on the museum side.

24.

MoMA Logo application on bilboards.

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CASE STuDIES

SF MuSEuM oF MoDERN ART SAN FRANCISCo, uSA

Location: Architect in Charge: Previous Architects: Area: Project Year: Brand Design: Brand Year: 17

151 3rd St, San Francisco, CA 94103, United States Snøhetta Mario Botta Architetto 460,000 sqft 2016 SFMOMA In-house Design Team.

2016

The San Francisco Museum of Modern Art was found in 1935. For sixty years, the museum occupied the fourth floor of the war veteran’s building.in the civic center. In 1995, the museum opened a new building in downtown San Francisco designed by Mario Botta. It was built as the second largest structure devoted for exhibiting modern art. The design of the building featured rectilinear galleries distributed around a circular atrium. The atrium appeared from outside as a dominant black and white striped cylinder rising above rectangular red blocks. 1 The SFMoMA brand was developed in the 1995.

It was inspired by the form of the building. The muscular design of Mario Botta was reflected in the logo that is composed of bold letters in a thick bordered box. A renovation of the SFMoMA brand was introduced in parallel with the recent expansion of the museum.

build connections with the neighborhood and the city. The design brought the benefits of the exterior landscape to the museum through the new pedestrian walkways around the museum and the new public entrance on Howard Street.

Snøhetta was in part inspired by the water and fog of San Francisco Bay to create the iconic white building. Throughout the day, the natural light animates the rippled surface of the white mass. Terraces are featured on various levels to extend the galleries to the outdoor and give unparalleled views of the city. 2 The new addition complements the architectural qualities of the original building. In the south view, the morphed white building appears in the background in a juxtaposition with uniform and symmetrical red box of the original SFMoMA. SFMOMA BRAND:

The recent expansion of the museum aimed to create an outward looking image, and to

The new brand of SFMoMA was inspired by the new expansion. It aimed to create welcoming, surprising, and participatory image for the museum. The design team looked at the same physical attributes of the city that inspired the

1

2

SFMOMA ARCHITECTURE:

San Francisco Museum of Modern Art. www.en.wikipedia. org

San Francisco MoMA Expansion, Snohetta. www. archdaily.com 25.

New expansion by Snohetta.

RETHINkING ARCHITECTuRE THRouGH BRANDING

26.

The war veterans civic center, San Francisco.

27.

The first SFMoMA building, by Mario Botta.

18

Adjectent Building

Adjectent Building

28.

CHAPTER 02

Floor Pland showing the connection between Botta’s building and the new expansion by Snohetta.

CHAPTER 02

CASE STuDIES

30.

The old museum logo designed in 1995.

31.

The new logo design in parallel with the new expansion.

19

29.

View from the southwest garden showing the juxtaposition between Botta’s building and the new expansion.

architect, the rolling hills, the ebb and flow of the surrounding water, and the fog pattern. The new brand of the museum replaced the solidity of the old logo with a deliberately porous and flexible design that provides multiple points of access and reflects the idiosyncratic culture of the Bay Area. The color palette is inspired by materials of both the old and the new buildings. The warm red and the black come from the red brick and black marble of the original building. Also the cool white comes from the white façade of the new addition. To distinguish itself from New York MoMA, the San Francisco museum created a unique identity that appears in its logo, colors, graphic patterns, and typeface. A digital pattern generator was developed to create undulating stripes that celebrate the grid of the red brick as well as the sinuous lines of the new building.

Also a special typeface was designed to match the logo with enough versatility to be used in all

applications from running heads to large signs.3 ANALYSIS: The brand identity of SFMoMA developed a strong connection with the architecture.

Before the expansion. The Botta building was the inspiration for the logo and the graphic compositions. The identity of the building was strong enough to dominate the identity of the museum and consequently its brand. Strength and stability appeared in the first logo, which was later considered as unwelcoming and closed.3 To stand up to the modern culture, SFMoMA demanded a new building expansion.

This opportunity allowed for the evolution of the whole identity of the museum. The new identity, which is more open, inviting, welcoming, and respectful for the museum history, resonated in both architecture and branding. The new expansion building gives the sense of lightness, 3

The Story of the New Visual Identity. www.sfmoma.org

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32.

Colors of the new brand identity are inspired by the materials used in Botta’s and Snohetta’s buildings..

33.

CHAPTER 02

Various applications of the brand identity in the print work.

20

34.

The signage of the museum applied over the new expansion.

35.

Various applications of the brand identity on gifts and bags.

openness, and modernity. At the same time, it celebrates the iconic building by Botta. Parallel to that, is the design of the new brand that reflects the essence of the new identity and borrows its inspirations from both new and old architecture.

CONCLUSION: The brand representation through architecture may be approached through conceptualizing the characteristics of the brand identity to inform the design. In the SFMoMA, the inspiration of the fog, and the ebb and flow of the Bay is a reflection of the city image that was led by the

new brand ideology of building connection with the city. A representation of the same idea is applied to the graphic pattern which represent the rolling hills. The natural colors and textures of the buildings appears in the color palette and patterns. The harmony between branding and architecture resulted from the reciprocal influence between both.

Image Source: a. San Francisco MoMA Expansion, Snohetta. www. archdaily.com b. San Francisco War Memorial and Performing Arts Center. www.en.wikipedia.org c. Robert Canfield Architectural Photography. www. canfieldphoto.com

CHAPTER 02

CASE STuDIES

STARBuCkS CoFFEE SToRE DAZAIFu, FukuAkA, JAPAN

Architects Location Facility Design Structure Client Construction Area Project Year 21

Kengo Kuma & Associates Dazaifu, Prefectura de Fukuoka, Japón Tosai Corporation, Kyu-den Ko Corporation Jun Sato Structural Engineering Manten Corporation Matsumoto-gumi Corporation 212.98 sqm 2008

Starbucks is a worldwide coffee seller and brewer, distinguishes itself from other coffeeserving venues by taste, quality, and customer experience. Starbucks was founded in 1971 by three partners in Seattle. Later the company was sold to Howard Shultz who expanded the business in a relatively short time. Today Starbucks has more than 23,000 branches around the world.

DESIGN CONCEPT The project stands on the main approach to the Dazaifu Tenmangu, a popular Shinto shrine in Fukuoka, Japan. Traditional Japanese buildings of one or two stories stand on the way to the shrine. kuma was inspired by the neighborhood.

As he said: “That’s where it all started …Dazaifu Tenmangu is a very special location, a historic shrine, for locals and visitors. I wanted to show the essence of the place to honor its strong culture of craftsmanship. If we could combine Starbucks spirit with the spirit of the artisan, we knew we could achieve something special.”

He aimed to make a structure that harmonized with the surrounding townscape by using a system of weaving wood pieces diagonally. The structure is an intricate matrix of more than 2,000

pieces of wood. The pieces range in length from 4 to 13 feet, and add up to nearly 3 miles of wood strips. Through the complex structure, kuma wanted to create a sense of fluidity to the cave-like space. The store had become an iconic attraction to the tourists from the around the world. It celebrates the traditional artistic roots of the neighborhood, and captures the modern sense of Starbucks stores. Similar to what Junji Ito, kuma’s colleague at the company, said: “Despite the handmade feel of the space, it also feels high-tech and advanced …it’s a good mix of traditional and contemporary.”

STARBUCKS BRAND Working with artists like kuma is a reflection of Starbucks growing focus on bringing locallyrelevant design to communities around the world by creating a space that truly honors the culture of each neighborhood. In Amsterdam, customers will find Starbucks in a historic bank vault. A New orleans Starbucks is inspired by the city’s strong mercantile and jazz roots. In Bangkok, a Starbucks store shares profits with coffee farmers in northern Thailand. While Starbucks has 18 in-house design studios around the world, collaborating with renowned architects like kuma, it offers an opportunity to explore new

36.

Starbuck coffee store, Japan.

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CHAPTER 02

The way to the main shrine in the nighborhood.

22

38.

A view from inside the store showing the extension of the wood work.

39.

Closer view to the wood works.

CHAPTER 02

CASE STuDIES

42.

23

The experience of light in GC Prostho Museum Research Center

ideas in design and reach new neighborhoods in an authentic way. Bill Sleeth, Starbucks vice president of design for the America’s, said: “Kuma’s design sensibility matched Starbucks point of view …It was this incredible opportunity to try something new and it worked. It’s the type of design that provokes conversation and becomes part of the customer’s memory of their visit to Dazaifu” CONCLUSION kengo kuma’s architecture aims to reinterpret the tradition of Japanese buildings for the 21 century. Instead of reproducing the traditional structural solutions and the importance of light, he extends the mechanism of the composition to expand the use of the material. He uses technology to challenge opaque materials to provide transparency and light. His team had previously experimented with the style for projects at Chidori and GC Prostho Museum Research Center. He recently applied similar joinery techniques in Sunny Hills at MinamiAoyama. In the Starbucks project he adjusted the fulcrum on the weave to better suit the café’s space. Even though the tectonic part of the project may seem repetitive in kuma’s work, in this particular case it is relevant to the site and the culture.

41. Similar joinery application at Sunny Hills at MinamiAoyama

The brand identity of Starbucks implies the openness to the public and the enhancement of the customer experience. In a worldwide scale, the diversity of culture becomes a major factor in representing its identity. In that regards, Starbucks identity emphasizes the originality and the relevance to the place. This concept was successfully achieved by the design proposed by kuma to this store. The tectonic nature of the structure inside, reflects the intricacy of the Japanese craft and tradition, while it also relates to what’s valuable to the people. At the same time, it uses the modern interpretation of tectonics to represent the identity of Starbucks and create an iconic attraction in the site.

Image Source: a. Starbucks Café, Dazaifu. www.archdaily.com. b. GC Prostho Museum Research Center. www.archdaily. com. c. SunnyHills at Minami-Aoyama. www.archdaily.com.

40.

Colored diagram showing the variety of wood cut to create the joinery

43.

The pieces are joined in steps to create the complex joinery.

RETHINkING ARCHITECTuRE THRouGH BRANDING

44.

Step one: first two pieces are assembled.

45.

CHAPTER 02

Steo two: yellow members areadded and the intersected members are fixed with hidden screws.

24

46.

Steo three: non- master green members placed to hide the screws.

47.

Steo four: second group of yellow members that are not intersecting with other members are placed.

48.

Steo five:Master green members are inserted from above. Now the structure is stable.

49.

Steo six: non structural gray members are added to complete the design.

CHAPTER 02

CASE STuDIES

LouIS VuITToN SToRE TokYo, JAPAN

Architects Location Area1 Project Year 25

Jun Aoki & Associates Ginza, Chuo, Tokyo, Japan 475.0 sqm 2013

“The new façade of Louis Vuitton Matsuya Ginza is inspired by the history of Ginza, the city that used to be known for its art deco design.

Ginza was the entrance of Tokyo, adjacent to Shimbashi, from which the very first railway station of Japan stretched to the port and led to the foreign country. The “modern” atmosphere the forefront Ginza acquired derived from art deco patterns in relation to edo-komon, the pattern of traditional Tokyo and the highly abstract and stylized geometric pattern in repetition.

Based on Louis Vuitton’s damier, which also is a repeated geometric pattern, the façade of Louis Vuitton Matsuya Ginza becomes our first softer version of damier, imbued with delicacy and richness that is found in organism. From edokomon to art deco. Art deco to the soft damier.

This is a journey to the history of Ginza.

CONCLUSION The Louis Vuitton brand features the use of different patterns and textures. The concept of this project focused on featuring a pattern formed by the combination of squares and circles. The exterior of the building is deformed by giving depth to the applied pattern. The deformation of the pattern cast shadows on the white surfaces of the facade and makes it visible.

At night, the same cavities have been used to put lighting for night illumination. The same pattern appeared at night in a negative effect.

Image Source: a. Louis Vuitton Matsuya Ginza façade renewal. www. archdaily.com. b. Aluminum double skin Louis Vuitton. moremorexless. blogspot.com.

Gentle bulges and dents elaborate the façade of opal beige reliefs. With these pattern, the façade reveals various appearances in sunlight, and also during the night, the LED lights behind the reliefs lit the façade to render another expression reminiscent of Louis Vuitton’smonogram.”1

1

Louis Vuitton Matsuya Ginza façade renewal. www. archdaily.com.

50.

Store Facade during the day

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53.

CHAPTER 02

Store Facade Fabrication and assembly

26

52.

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

51.

Store Facade in the evening

54.

Store Facade Detail

Store Facade design drawing

flourpolymer coating 3 mm aluminum panel, flat flourpolymer coating 3 mm aluminum panel, concave aluminum anchor to withstand wind loads flourpolymer coating 5 mm star panel, flat circular expansion joint neoprene LED lamp circular arrangment with 5 mm glass pane cover 80 / 90 mm steel angle aluminum cylinder, anchor of star panel light reflecting board, aluminum, with sealant on back side existing column: 125 mm wide-flange steel H - profile beam: 95 / 80 mm steel angle 90 / 75 mm steel angle connecting piece between concave and flat panels fur high percision butt joint calibration on 60 / 30 / 3 mm aluminum channel diagonal expansion joint, neoprene

CHAPTER 02

CASE STuDIES

CALIFoRNIA ACADEMY oF SCIENCE CALIFoRNIA, uSA

Architects Location Project Year Photographs Manufacturers 27

Renzo Piano Building Workshop, Stantec Architecture Concourse Dr/Academy of Sciences, San Francisco, CA 94118, United States 2008 Tim Griffith, Nic Lehoux, Justin Lee, Tom Fox, SWA Group, Shunji Ishida Armstrong Ceilings, Hydrotec, Josef Gartner, Otis, Pyrok, Reynolds Polymer Technology, Steelcase, Webcor Concret

“The California Academy of Sciences was founded in San Francisco in 1853. It is one of the most prestigious institutions in the US, and one of the few institutes of natural sciences in which public experience and scientific research occur at the same location.

Following the widespread destruction of the Academy buildings by the Loma Prieta earthquake in 1989, a consultation for this new building was held. Today’s Academy sits on the Golden Gate Park site of its predecessor, which was comprised of 11 buildings built between 1916 and 1976 and grouped around a central courtyard. Of these buildings, three have been conserved within the new project: the African Hall, the North American Hall and the Steinhart Aquarium. The new building has maintained the same position and orientation as the original, all the functions laid out around a central courtyard, which acts as entrance lobby and pivotal centre to the collections. This connection point is covered by a concave glass canopy with a reticular structure reminiscent of a spider’s web, open at the centre.

Combining exhibition space, education, conservation and research beneath one roof, the Academy also comprises natural history museum, aquarium and planetarium. The varied shapes of these different elements are expressed

in the building’s roofline, which follows the form of its components.

The soil’s moisture, combined with the phenomenon of thermal inertia, cools the inside of the museum significantly, thus avoiding the need for air-conditioning in the ground-floor public areas and the research offices along the facade.”1 CONCLUSION By analyzing the logo type of the project, it can be inferred that many aspects of the architectural design have been considered in the design of this logo. The spherical shapes used in the project are related to the circular design of the logo. The building functions as institute for the natural science, which has been architecturally symbolized by fusing with earth. The logotype is inspired by the shape of the Earth and the roots of the plants.

Image Source: a. California Academy of Science, Renzo Piano. www. archdaily.com.

1

California Academy of Science, Renzo Piano. www. archdaily.com.

55.

Project signage

RETHINkING ARCHITECTuRE THRouGH BRANDING

56.

Ecological section

59.

Living roof section

61.

CHAPTER 02

Solar section

28

57.

Living roof Interior

58.

Project entrance

60.

Public floor plan

CHAPTER 02

CASE STuDIES

CoMMERZBANk HEADQuARTARS FRANkFuRT, GERMANY

Architects Location Client Construction Area Project Year 29

Foster+Partners Frankfurt, Germany Manten Corporation Commerzbank 120736 sqm 1997

“At fifty-three stories, the Commerzbank is the world’s first ecological office tower and the tallest building in Europe. The project explores the nature of the office environment, developing new ideas for its ecology and working patterns.

Central to this concept is a reliance on natural systems of lighting and ventilation. Every office is daylit and has openable windows, allowing the occupants to control their own environment. The result is energy consumption levels equivalent to half those of conventional office towers.

The plan of the building is triangular, comprising three ‘petals’ − the office floors − and a ‘stem’ formed by a full-height central atrium. Winter gardens spiral up around the atrium to become the visual and social focus for four-story office clusters. From the outside these gardens in the sky give the building a sense of transparency and lightness. Socially, they form focal points for village-like clusters of offices, providing places to meet colleagues or relax during breaks. Environmentally, they bring light and fresh air into the central atrium, which acts as a natural ventilation chimney for the inward-facing offices. Depending on each garden’s orientation, planting is from one of three regions: North America, Asia or the Mediterranean.

The tower has a distinctive presence on the Frankfurt skyline but is also anchored into the

lower-scale city fabric, through the restoration and sensitive rebuilding of the perimeter structures to reinforce the original scale of the block. These buildings provide shops, car parking, apartments and a banking hall, and help to forge links between the Commerzbank and the broader community. At the heart of the scheme is a public galleria. With its restaurants, cafés and spaces for social and cultural events, it has become a popular pedestrian thoroughfare.

Interestingly, on the day the Commerzbank opened, the Financial Times adopted it as the symbol of Frankfurt, just as it features the Houses of Parliament and the Eiffel Tower as symbols of London and Paris.”1 “The modern, dynamic and unmistakable brand identity of Commerzbank underlines the high standards we at the Bank have set for ourselves and serves as an expression of our identity.

The Commerzbank brand stands for fairness and competence. We are a bank that stands out for dealing fairly with its customers in a spirit of partnership and demonstrates great competence in all financial issues. Our range of services is clearly focused on the interests of customers and their satisfaction. We therefore attach great 1

Commerzbank Headquarters. www.fosterandpartners. com.

62.

Commerzbank Headqauters Tower.

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CHAPTER 02

30

63.

The tower changes the skyline of the Frankfurt.

64.

The building appears from the interior of the entrance atrium

66.

65.

Section of the tower showing the main atrium and the allternating floors to help the stack ventilation.

Floor plan showing the triangule with one side open for the garden.

CHAPTER 02

CASE STuDIES

68.

The newlogo appied on the building.

70.

The old logo of the bank

69.

The newlogo appied on the signage

71.

The newlogo of the bank

31

67.

View from the atrium showing the height of the glass wall and the greenery.

importance to our actions being transparent and logical. This makes us a reliable partner our customers can bank on. Our logo depicts how the merger of two traditional brands has given rise to something new, exciting and innovative: one name, one logo, one bank. It symbolizes the origins of the new Commerzbank in the former Dresdner Bank and Commerzbank. The logo consists of three key elements: the name “Commerzbank” with the new font, the color yellow and the three-dimensional ribbon.”2

2

Brand identity: A strong bank needs a strong brand. www. commerzbank.com

CONCLUSIONS The Commerzbank considered changing the original logo based on the creative design submitted by the architect. The sustainable innovations that were applied in the building have positioned the building amongst the remarkable buildings of Europe. The bank administration has become very proud of the building and drew the inspiration for the logo from the shape of the floor plan which enabled the architect from incorporating all of the sustainable features of the design.

Image Source: a. www.commerzbank.com b. Commerzbank Headquarters. www.fosterandpartners.com

RETHINkING ARCHITECTuRE THRouGH BRANDING

CHAPTER 02

32

CHAPTER 03

33

CASE STuDIES

CHAPTER 3 HYPERLINK

RETHINkING ARCHITECTuRE THRouGH BRANDING

CHAPTER 03

Hyperlink is a project that connects all the design-based professions in one place that works as a creative loop. It is a co-working space that is provided with cutting-edge technologies needed for design, drafting, programming, and fabrication. It is a business model that gives a chance for all gifted entrepreneurs and startups specialized in engineering, architecture, and design to have more exposure and succeed. It is an initiative to introduce the concept of design to the community and inspire the creativity through knowledge exchange. It is a collaboration between the three components represented by the trilogy think, make, and work.

34

CHAPTER 03

HYPERLINk

HYPERLINk THINk, MAkE, WoRk

35

Based on the information introduced in the first chapter, the concept of branding is applicable to several building types and functional models.

To explore the possibility of expressing a brand identity through tectonics, this project will be the platform for experimenting with the thesis findings. Contemporary office buildings are more focused on functionality and the exposition of the structural elements. Since the high-rise glass box appeared in the 1950s, the prevailing concept about office structures has become a uniform and well defined structural grid. office buildings also has a strong connection with branding. Most of the corporations consider branding strategy a major reason for success, and allocate a huge budget for it. This project seeks to provide an integrated solution for the requirements of the program and the tectonic nature of architecture.

It will examine the structural potential to represent a brand identity through graphic illustration and parametric modeling.

THE LOCATION The site has been chosen to serve the goals of the project. It is a high value property that is located in a very populated area in downtown Boston. It is very close to the train station and the transit lines. It is surrounded by theaters, museums, hotels, cafes, restaurants, groceries, parking, and other supporting facilities. The site

lies within the visibility for observers coming from both the north and the south side of the Greenway. It also has a very wide viewing angle overlooking the Greenway. The site is currently under development and is expected to host a residential compound designed by a notable architectural firm.

THE CHALLENGES Branding, in the general sense, aims to publicize and embrace an idea for a certain purpose. Its role has become very influential to an extent that it can shift the public opinion. Architecture, as a three dimensional medium of display, can potentially incorporate the concept of branding without sacrificing the balance of the visual space. Hyperlink is an experimental design project that seeks to manifest the concept of branding in an architectural form.

The first challenge facing this project, is to apply the thesis preposition stated in the first chapter on such complicated program. The second challenge is shape of the site that divides the buildable area into two parts. It also limits the structural flexibility and the spatial continuity.

These challenges add a sense of reality to the experience and will help justify some of the design decisions.

72.

Satellite image for the project site. ( source: Google Earth Pro)

RETHINkING ARCHITECTuRE THRouGH BRANDING

CHAPTER 03

36

CHAPTER 03

HYPERLINk

The concept of the “Work” space depends on sharing the workspace and the resources with other entrepreneurs to reduce the cost of starting and running a design firm. It also encourages collaboration and social networking between workers and companies with different disciplines. It is a green, healthy and creative work environment for professionals. Also it is open, inviting, and suitable for community involvement. The “Make” space is a public stage for practicing design through making. It creates an opportunity for the people who are interested in design to develop their knowledge and skill sets. At the same time, the space will provide services for the professionals, and that will allow for sharing the knowledge. The “Think” space is a center for ideas and patents display in form of conferences, workshops, and seminars.

It connects the professionals with the latest advances and updates in the design field. It also gives the access for Non-professional to an authentic and up-to-date source of knowledge.

Think Space

73.

Work Space

support

Think Space

Green

Make Space

Services

Service kitchen 400 SF

3D Printing Lab 2,400 SF

Workroom 2,400 SF

Make Space

Admin

Proposed project program

Material Lab 400 SF

Design Room 1,000 SF

Preliminary Meeting 1,000 SF

Maker Library 1,000 SF

Maker Space 3,500 SF

Lounge 600 SF

Self Service kitchen 500 SF

Seminars 3,600 SF

Thought Lounge 800 SF

The space program of the project consist of three main functions represented by the trilogy: Think, Make, Work. To explain the relation between these three parts, it is better to analyze them in a reversed order.

Conference Room 3,500 SF

37

Conference Lobby 750 SF

PRoJECT PRoGRAM

74.

75.

76.

Think Space 9,150 SF Work Space

usability 25% 29,873 SF

Building and usability percentages Make Space 12,700 SF

Core 40% 34,140 SF Green

Work Space 27,800 SF Administration

Green 17,500 SF

Major components of the project

Space Program Area 85,350 SF

Support

Electromechanical Rooms 1,500 SF

Storage 3,000 SF

Service kitchen 1,000 SF

Financial Department 900 SF

Legal Department 400 SF

Supporting Center 1,500 SF

Application Center 900 SF

Administration offices 5,000 SF

Director’s office 500 SF

Secretary office 250 SF

Board Meeting Room 750 SF

Gallery 600 SF

Reception Hall 1,500 SF

Entrance 400 SF

Interior Gardens 4,500 SF

Terrace Gardens 9,000 SF

Cafe and Dining 1,500 SF

Roof Garden 2,500 SF

kitchenettes 1,200 SF

Lounges 1,800 SF

Meeting Spaces 3,000 SF

Printers Rooms 1,800 SF

Co-working Spaces 15,000 SF

Startup Workstations 5,000 SF

RETHINkING ARCHITECTuRE THRouGH BRANDING

Service

Spaces’ areas analysis

Administration Support Service 9,000 SF 3,700 SF 5,500 SF

CHAPTER 03

38

HYPERLINk

THINK SPACE

CHAPTER 03

SPACE

ACTIVITY

FEATURES

Conference Lobby

Reception, buffet, and waiting

Seating, and service tables

750 SF

1

750 SF

Conference Room

Periodical conferences

Conference for 100 people

3,500 SF

1

3,500 SF

Thought Lounge

Seating, open discussions, gatherings, talks.

Seating, arm chairs, tables, movable boards.

800 SF

1

800 SF

Seminars

Brain storming, analysis presentation, decision making.

Meeting table, smart board, multimedia projection.

1,200 SF

3

3,600 SF

500 SF

1

500 SF

600 SF

1

600 SF

MAKE SPACE

Self Service kitchen

39

WORK SPACE

NO

TOTAL

Lounge

Reception, guidance.

Help desk, seating, waiting area

Maker Space

Community meeting, various ages, gathering, discussion, tutoring.

Setting area, working table, computer station, assembling bench.

3,500 SF

1

3,500 SF

Maker Library

DIY manuals, guide books, source books, related texts.

Book shelves, digital media browsers.

1,000 SF

1

1,000 SF

Preliminary Meeting

Team management and organization, planning and work assignment.

Meeting table, smart board, multimedia projection.

500 SF

2

1,000 SF

Design Room

Design and blue print preparation

Computer lab, digital drawing pads, sketching and drafting table and tools.

500 SF

2

1,000 SF

Material Lab

Learning about new materials, Samples observation.

Material display shelves, help desk

400 SF

1

400 SF

Workroom

Wood and Metal Cutting, welding, carving, pressing, joinery, glue, assuming and testing.

(Air and sound proofing, safety equipment, dust suction, good illumination) Working tables, industrial computer, equipment.

1,200 SF

2

2,400 SF

3D Printing Lab

Digital fabrication, post treatment processing,

3D printing equipment, computers, Fabrication materials storage.

1,200 SF

2

2,400 SF

200 SF

2

400 SF

Service kitchen

GREEN

AREA

Startup Spaces

Multi zone open office space

Workstations, various sizes

500 SF

10

5,000 SF

Co-working Spaces

Multi-disciplinary open office space

Workstations, various sizes

1,500 SF

10

15,000 SF

Printers Rooms

150 SF

12

1,800 SF

Meeting Spaces

250 SF

12

3,000 SF

Lounges

Setting, relaxing

Sofas and tables

150 SF

12

1,800 SF

kitchenettes

Food and beverage preparation

kitchen equipment

100 SF

12

1,200 SF

Roof Garden

Roof and indoor gardens

2,500 SF

1

2,500 SF

CafĂŠ and Dining

Food and beverage providing

1,500 SF

1

1,500 SF

Terrace Gardens

750 SF

12

9,000 SF

Interior Gardens

1,500 SF

3

4,500 SF

Dining table, self service counter.

RETHINkING ARCHITECTuRE THRouGH BRANDING

ADMINISTRATION

SPACE

ACTIVITY

FEATURES

Entrance

NO

TOTAL

400 SF

1

400 SF

1,500 SF

1

1,500 SF

Reception Hall

Reception, information, waiting, and gathering

Reception desk, seating, graphics, and interior elements

Gallery

Visual observation, strolling and experiment

Features objects, products, and promotions

600 SF

1

600 SF

Board Meeting Room

management and board meetings.

Meeting for 12 people

750 SF

1

750 SF

Secretary office

250 SF

1

250 SF

Director's office

500 SF

1

500 SF

5,000 SF

1

5,000 SF

900 SF

1

900 SF

Administration offices Application Center

Waiting, information, registration

Reception desk, waiting lounge, processing office.

Private meetings, lectures rooms, help desks

2 Private meeting rooms, 2 lecture rooms, waiting area, help desk.

1,500 SF

1

1,500 SF

Legal Department

Legal documentation, consultation, review, and support.

2 legal offices, 1 auditing.

400 SF

1

400 SF

Financial Department

Financial and resources management, Human resources, public relations.

3 Financial offices, 1 auditing, HR office, PR office.

900 SF

1

900 SF

1,000 SF

1

1,000 SF

Storage

3,000 SF

1

3,000 SF

Electromechanical Rooms

1,500 SF

1

1,500 SF

SERVICE

Supporting Center

40

Service kitchen

BUILDING CORE

SUPPORT

AREA

Elevators

Main passengers Elevators

Egress Staircase

Main egress provided for each building, and covering floor circulation

2

Service Elevator

Main goods and back of house facility elevator

1

Restrooms

For each building

ADA complaint

ADA complaint

CHAPTER 03

2

1

Electromechanical Shafts TOTAL

85,350 SF

BUILDING CORE 40%

34,140 SF

USABILITY FACTOR 25%

29,873 SF

GRAND TOTAL

149,363 SF

CHAPTER 03

HYPERLINk

SITE ANALYSIS

41

Compared to other American cities, Boston is considered one of the largest markets for the branding industry. The awareness of branding concept is continually stimulated by the sheer number of branding projects in the city. The city itself has its own online manual for brand strategy and identity design regulations.1 As a house for design institutions and a hub for knowledge and cultural exchange, Boston is a diverse and a multicultural city. The Greenway project was part of the huge plan of reshaping the image of Boston. The project replaced the highway bridges with huge tunnels that connects the city underground. The ground surface has been redesigned as a huge park with low traffic and pedestrian circulation. It features plazas, gardens, artworks such as the rings fountain by the Chinese artist Ai Weiwei. The shape of the site and its relation with the Greenway appeals for a sort of integration between the proposed design and the Greenway.

exposed to observation across various sight lines, angles and distances. The triangular shape of the site challenges the design possibilities and provokes structural innovations. The centric location of the site on the Greenway calls for a dramatic intervention to accentuate the relation with fabric of the city.

The hypotenuse of the triangle is along John Fitzgerald Street and faces the east. The site is bounded on the north by Well Street and on the south by Broad Street. The area of the site is approximately 9,000 sq ft, with an allowable floor area ratio (FAR) of 6 and a maximum building height of 100 ft. 2 The site is visually perceived from a distance of 20 ft. on Well St., 40 ft. on Broad St., and over a 100 ft. on the east side of the Greenway from Atlantic Avenue. The setback on the north and south streets is zero, while the setback on the John Fitzerald St is 25 ft.3

THE SITE The specific site is located on the downtown side of the Greenway. It is very close to the bustling transportation hub, the South Station. It is largely

1

Boston city brand guidelines, online portfolio: https://www. boston.gov/departments/innovation-and-technology/ brandguidelines.

2 3

Zoning regulations code, Section 46-6. Maximum Building Height and Floor Area Ratio. Section 21-2. - Exceptions.

Ibid, Section 21-2. Exceptions.

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2001

78.

2003

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2004

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80.

2005

81.

2006

82.

2008

83.

2009

84.

2014

85.

2016

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STREET VIEWS The first layer of the surrounding buildings ranges in height from 5 to 7 stories. Higher buildings appear in the second and the third layer forming in the background the skyline of the city. Before the new development project which started recently, the site was occupied by an older building that contained a restaurant in the ground level and vacant apartments above.

The new development is expected to rise up to 7 stories on the two parts of the site.

on the bay side of the Greenway, the site is flanked by two high rise residential towers, and the harbor garage. The harbor hotel at Rows Warf is located to the south of the towers. The gate of the hotel is a significant focal point in the area, and it lies on direct axis with site. The site is surrounded by many cafes, bars and restaurants. Grocery and other supplies are found in fewer numbers.

43

86.

A view for the site from across the green way before demolishing the old building (google street view 2014)

87.

A view for the site looking north (google street view 2016)

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88.

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A view for the site looking south (google street view 2016)

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89.

A view for the site looking south (google street view 2016)

90.

A view for the site looking south (google street view 2016)

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91.

Figure ground superimposed over satellite image

THE FIGURE GROUND The site is on the edge of the dense building mass of the downtown, and opens to the Greenway. The visual reading of the figure ground is encourage the completion of the city fabric, and extends towards the Rows Warf Hotel in the south. The figure ground is built on a satellite map of the site.

SHADOW RANGE The shadow range map shows that in winter the site is completely covered by the shadows of the high rise building to the south. This will decrease

the temperature in winter, but it will also reduce the sun exposure in summer. For energy saving, high efficiency PV cells is advised to be installed in the building.

ACCESSIBILITY The site is on a 5- minute walk from the nationwide train and subway, the station South Station. There is another subway station that is very close to the site located to the north. The surrounding streets are low traffic and provided with sidewalks and bike lanes. The wide sidewalks are located on the Greenway.

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95.

Shadows at June

96.

Shadows at Septmber

97.

Shadows at December

92.

Traffic map

93.

Transit map

94.

Cycling map

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98.

Sun Path Diagram - Latitude 42.35 Hourly Data: Dry Bulb Temperature (C) Boston MA, uSA

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99.

Wind Rose Boston MA 1 JAN 1:0031 DEC 24:00

Hourly Data: Wind Speed (m/s) Calm for 0.48% of the time = 42 hours Each Polyine shows frequency of 1.1% = 99 hours

SUN PATH & WIND ROSE

PSYCHOMETRIC CHART

As shown in the shadow map, the exposure to the sun occurs during the morning hours until noon. This will require installing vertical sun shades on the eastern facade. The prevailing wind direction is the North West, which leaves the site in a position that is reinforced by the buildings of the city. A major concern is the exposure to the seasonal winds from the Greenway side, which needs to be considered in the design of the structure of the building.

From the psychometric chart depicted on the right, Boston is a humid city. The comfort zone is located between 71°F and 87°F and a maximum humidity ratio of 0.015. The moderate temperature in summer helped extend the comfort zone to that humidity ratio. Although, passive and active heat gain techniques are required for heating in winter. High efficiency water proofing has to be installed for the elevations to prevent the leakage of water resulted from the condensation.

SKY COVER The sky cover study indicates the amount of power that could be collected from exposure to direct sun, shown in the direct radiation graph, and the natural day light, shown in the diffuse radiation graph. This helps in determining the efficiency of the PV cells and the expected energy gain from this sustainable technique, calculated from the total radiation graph.

TEMPERATURE RANGE The chart indicates that the lowest annual temperature is 5°F in January, while the highest is 95°F midday July and August. The diurnal swing can reach to 40°F, which indicate that a passive heat gain techniques are recommended to reduce the load on the active heating systems in the spring and the fall semesters.

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102. Direct Radiation (kWh/m2) 1 JAN 1:00 - 31 DEC 24:00 48

100. Psychometric Chart 1 JAN 1:00 - 31 DEC 24:00

103. Diffuse Radiation (kWh/m2) 1 JAN 1:00 - 31 DEC 24:00

101. Dry Bulb Temperature (C) - Hourly 1 JAN 1:00 - 31 DEC 24:00

104. Total Radiation (kWh/m2) 1 JAN 1:00 - 31 DEC 24:00

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FIRST REVIEW FEBRuARY 17th, 2017

105. Draft design proposal for the logotype inspired by the proposed structural system.

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This part sums the work that has been done in the first month of the design project. A preliminary thesis review took place on February 2nd, 2017, reviewed the theoretical approach of the thesis and linked it to the possible design approaches. The review on the 17th was a milestone in the progress of the conceptual design. This stage concluded to a definition for the key elements of the design, the brand, the massing, and the structure.

THE BRAND To define the identity of the project that will inform the architecture and the branding simultaneously, according to the thesis preposition, a word map was created to build the general description of the project. The light words in the background collect the broad set of meanings that forms the identity of the project. The darker group of words describe the main theme of the project that focuses on the futuristic design, the structural dominance, the collaborative nature of the co-working space, and the involvement of the community.

THE MASSING Based on the complex shape of the site, the project massing cannot be defined by less than two parts. To overcome this, a structural linkage

106. A wordmap that describes the identity of the project. one of the basic techniques of concept definition that is used in both branding and architecture.

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107. Joint detail for the proposed structural system.

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108. A design scheme that incorporates the proposed structural system.

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109. Study model of the first proposed structural system.

110. Conceptual section for pragram layout anaylsis.

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111. A second scheme that focuses on the integration between the two parts of the site.

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112. Enlarged floor plan that showes the building core and the use of spacew.

needs to be incorporated with the design. To build the initial mass, the space program was distributed on a section drawing to allocate the number of floors and to vertically position the main spaces. The proposed massing considered the relationship with site and the heights of the surrounding buildings. The southern part of the project was raised up to 15 floors to create a transition between the high-rise in the south and the surrounding mid-rise buildings.

THE STRUCTURE Multiple structural systems were tested for hosting the program. Within such small site, the first prototype shown in figure no. 108 can be limited in terms of flexibility and openness. The successful system depicted in figure no. 113 was selected upon its responsiveness to the functionality requirements. It provides a range of flexibility that allows for alternating the spatial distribution and moving the slab boundaries.

113. The most responsive scheme to the thesis, selected upon analysis of five schemes.

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114. Floor height in relation to the strcutrual system.

115. Structural gird and curtain wall mullions alignment.

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116. A distinctive mass in relation with the structural grid.

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117. A massing model for the elected scheme

118. A conceptual section that shows the incorporation of the design elements and the vegetation with the structural system.

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MIDTERM REVIEW MARCH 17th, 2017

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In this design review, sketches has been transformed into a digital model. Putting the design proposal within the site and the surrounding buildings allow for a better perception about the form proportions and the possible space planning. Also the relationship between the site and the fabric of the city has clear to change the orientation of the building to parallel the city grid. The core of the building has been positioned to the west and against the city blocks, leaving the east side which faces the Greenway to the inhabitable spaces of the project.

The structural system was redesigned to intertwine with branding concept, considering the first structural prototype. The new structural system incorporated diagonal structural members in the typical structural system, to increase the structural stability and support the edges of the triangles. The three spheres appeared in the conceptual sketch have been position vertically according to their relationship with the community. They were also confined by the available floor area and the structural system.

A parametric model has been developed to produce multiple iterations for the spherical models. The successful iteration was selected based on its suitability for its function and containment by the structural grid.

The brand design, which was introduced in the first review, generated an inspiration for the shape of the spherical shells. The triangular composition of the brand has a strong connection with the origami tessellation, which depends on folding paper in triangles to make corrugated forms. To understand the principles of the origami tessellation, several model were built to study its features.

119. origami tessellation model for flat surface.

120. The crease angle changes the curvature of the surface.

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121. Existing site plan.

122. Proposed site plan.

123. 3D view for the Existing site.

124. 3D view for the proposed scheme.

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125. 3D Section showing the distribution of the major spaces in the two parts of the project.

127. The parametric model design to build the spherical shapes

126. A massing model for the design proposal

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128. Bird eye perspective for the site and the included part of the Greenway.

129. View from the south.

130. View from the north.

131. Interior view from the lobby

132. The visual axis looking towards Rows Warf Hotel.

133. A view from inside the gate of Rows Warf Hotel.

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FINAL REVIEW APRIL 24th, 2017

134. The brand identity, the logotype.

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on the final presentation day, the project boards and models were set for presentation at 4:30 PM. The show started with a digital presentation featuring a brief description of the thesis argument, and the conceptual development of the project throughout the early reviews. The second part of the presentation was used the boards and the physical models explaining the details of the design and the contextual synergy of the project. The last part of the presentation was a rendered movie clip of the model featuring experiential moments of the project spaces and close up details for the special structures of the project. The jury involved: Prof. Tyler Smith, FAIA Prof. Theodore R. Sawruk Prof. Imdat As, DDes Prof. kermit Thompson, AIA William C. Richter, AIA, ASLA Angela Donta Cahill, AIA, LEED AP kenton C. McCoy, AIA To the right, a picture taken during the review,

by Laurie Granstrand.

135. Rendering for the south side of the project.

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136. Exiting site plan

SITE PLAN The design propose a substantial intervention in the island that is connected with the site.

This intervention will seamlessly integrate with the overall landscape of the Greenway. The intervention is not based on the acquisition of the public space, it breaks the boundaries between the public space and the public spaces of the project.

137. Proposed site plan

0

75ft

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5 Adjacent Building

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138. Bsement level -11 ft

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8.

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Reception Offices entrance lobby Public cafe and bar Maker space entrance lobby Adminstrative office Service Entrance Kitchen Stree Ramp Pedestrian ramp

Shared Street

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The Greenway 9

North

139. Ground level +1 ft

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25ft

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FLOOR PLANS The two buildings of the final proposal have identical floor plans that are connected from the edge. The connection occur only in the third and the forth levels for building security. The first floor is connect with the canopy through the south building. The direct public access to the project is located in the north building.

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North

140. First level +13 ft

141. Second level +25 ft

142. Sixth level +73 ft

143. Seventh level +85 ft

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144. Third level +37 ft

146. Fourth level +49 ft

148. Fifth level +61 ft

145. Eighth level +97 ft

147. Eleventh level +133 ft

149. Tewlveth level +145 ft

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50ft

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SECTIONS The site section demonstrates the change of the topography proposed for the central land including the pavilion addition to the green way.

Main sections are cut through the major spaces in the project to demonstrate the multi-functional spatiality and their relation with the solid parts of the building.

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150. Site section

B A

151. Section A

152. Section B

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ELEVATIONS The elevation on the green way is design to give a high level of transparency and connection with the public spaces created in the island.

The western side of the building is attached to the fabric of the city, and the needs less openings, so all the services were positioned against that side to maximize the openings on the eastern side of the building.

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153. South east elevation

155. North east elevation

154. South west elevation

156. North west elevation

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50ft

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Lightening pole Curtain wall system supplied with PV cells mounted on louvers HVAC Roof units, including boilers concealed by perforated fence Tempered glass parapet Diagonal Structure of Steel Beams with aluminum casing Structural slab Composed of 3” thick concrete slab cast on steel decking Perforated aluminum sheet Project signage

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18” deep reserved space below slab for piping, duct work, and conduits.

Structural Joint 12’ Finish to finish floor height Trespa external wall cladding on 3” batt insulation Column Concrete Base for diagonal grid joint Fibered soil including Automated irrigation system for wall planter Tinted floated glass interior partition Slanted wall supported by the structural system Beveled garden on slab, including automatic irrigation. Planter pit depth 2’ engraved from the space below.

Triangulated double glass panes mounted on digitally fabricated steel structure. Including track able perforated aluminum shading system Thread ball lighting chandelier Interior wood cladding Mechanical space

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157. Main spaces

158. office compartments

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159. Egress stairs

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160. Structural system

161. Mechanical shafts

162. Roof gardens

WALL SECTION

DESIGN FEATURES

The key feature of this section is the intersection between the structural systems with all other elements. The three shells hosting the main spaces of the project is made of three layers to maximize the protection from overheating and to reduce the glare.

This section illustrates the different components that builds up the project. In addition to the major spaces, the maker space, the assembly room and the sky garden, offices are supplied with side compartments of all the supporting services, including small meeting, printing, and kitchen.

Additional wall extensions has to be produced for bridge the joints between the shells and the rectilinear geometry of the building.

163. Photovoltaics panels

The other diagrams show the egress, the mechanical shafts, the photovoltaics, the green ares areas and the structural diagrid.

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164. Percentage of occupied hours where illuminance is at least 28 footcandles, measured at 2.79 feet above the floor plate.

BUILDING SYSTEMS

SUSTAINABILITY

The two cores of the building provides all the shafts required for the project. VRF air conditioning system is provided to minimize the ducting work. All the external units are located on the roof

To increase the efficiency of the PV plates mounted on the eastern elevation, the new design increased the hardscape area so they can benefit from the reflected sun light.

165. Safaira energy and daylighting analysis.

The diagram below show the movement of the air around the alcoves generated by detached core of the building. The reduced the cooling load in summer. Also helps create a warmer space in winter.

166. Prespectival section

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Draining for service kitchen Including riser in the shaft Typical duct work for each office floor using VRF cooling system Heating system radiating system connected to boiler on the roof Drainage system for toilet complex in each floor

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Air mechanical ventilation for the toilet complex Mechanical ventilation shaft for toilet complex Hot water piping riser isolated from the electrical shaft Shaft to the cooling tower on the roof

167. Air circulation

168. Mechanical systems

50% open 169. Model iterations produced by the parametric model

Adaptive open

Samller grid

Slanted morph

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170. Bird eye view

171. South view

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172. Maker space lobby

PERSPECTIVES The three distinguishable masses of the design symbolize the significance of the activities occurring inside, and manifest the relation between the triangular shape of the site and the functional trilogy. The vertical position of each mass indicate its relation with the community.

The dominant plain surface of the building emphasize the contrast with round masses.

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173. North bird eye view

174. Siminar space lobby

175. Visual axis towards Rows Warf Hotel.

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176. Ground level view

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178. First massing model

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177. Project physical model

179. Second massing model

180. Final massing model

CONCLUSIONS 75

After the final submission of the project, I received a profound comment from my thesis supervisor, Prof. Tyler Smith, FAIA. He gave his insights about this thesis ending with a question: “Fahed Baker is an architect of exceptional talent. He brings to his work a deep intellectual curiosity and focused intensity. He combines a keen interest in theoretical explorations with a capacity to explore in great depth and skill multiple design solutions. He is facile in all aspects of architectural expression: speaking, sketching, model making, and technical expertise.

His thesis is a dense, in depth exploration of the notion of “branding as architecture” in which he sees the aspects of and the physical accommodation of “think, make, work” synthesized into built from; a brand. This built form springs up as a linked tower from a tight double triangle shaped site in downtown Boston. At grade it spreads into and over connecting to Boston’s Greenway. In oral and graphic presentation and design, this met and far exceeded all the thesis requirements. This thesis is powerful, intellectually challenging and complete in every aspect. And to top off his presentation Fahed provided a video walk through of the project. This was in every respect an extraordinary piece of work

With some hesitation and doubt I did find myself asking: Is this a building I would love to experience, look at, and enjoy, and want to “think, make, work” things on? I’m not sure. Then again, is that a fair, relevant question to ask?”

Tyler Smith, FAIA, May 2017 This overwhelming comment makes it difficult to respond to the ending question. Although, a justification could be inferred from the experimental approach of this thesis. This design is one of the infinite solutions that could be proposed for this project, yet it is the comprehensive answer to the thesis question.

It is more concerned with accentuating the process of design rather the end result. It is an initial experiment that opens a door for further investigations in the relation between branding and architecture. The best design is the creation of God, but humans always search for better designs.

Architecture has many design constrains that govern the formation of the building. For that reason, architects have broken many of these constrains to validate their architectural discourse. In this project, most of the architectural, and branding, design constrains where considered to be engaged in the final proposal. The time frame was a drive to set some of the design decisions to their default

Architectural Information

Conceptual Architectural Design

Semiotic Meaning

Graphic Information

Built Form

Identity Formation

Conceptual Brand Design

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Print and Digital Media

Cyclic Process

181. Design Methodology

parameters, in order to direct the focus of the design on answering the question of identity representation. The final proposal is inspired by the experiment of mixing the rules architecture and branding rather than the architecture by itself.

The conclusion of this experiment synthesize a design methodology that may inspire the integration between architectural and branding in a built form. The process starts with an analysis of the architectural information from a symbolic approach, similar to the analysis of the program and the shape of the site introduced in this thesis. This analysis may produce a relation with the conceptual brand that is still under design.

At this point, a cyclic process of design starts

to develop the schematic design of architecture and branding. The design of the brand may evolve as the architectural design develops, and the brand design may inspire some of the architectural concepts or details. This process can continue in all design stages until the final design. As concepts evolve in architecture and branding, conflicts and challenges get resolved along the process and then they start to seamlessly collaborate to produce the final design.

The scope of this thesis is limited to the architectural project, but an extended version of this proposal would feature the incorporation of architecture in the branding works such as prints, brochures, and digital displays.

INTERVIEWS MICHAEL J. CROSBIE, PHD, FAIA Professor of Architecture university of Hartford December 2016, Hartford, CT 77

Prof. Crosbie has made significant contributions in the fields of architectural journalism, research, teaching, and practice. He is the author of 20 books on architecture, and the editor-in-chief of Faith & Form journal. He received his PhD in architecture from the Catholic university, and teaches architecture in many universities including the university of Hartford where I met him. I asked Prof. Crosbie about his architectural perspective of branding, and he answered:

remember having a conversation with Cezar Pilli about his process of design. He told me that before he starts drawing, he verbalizes, he sets with his colleagues in the studio and they talk about how the building should be. This was very interesting to know that an architect of his stature tries to verbalize before he draws.”

“I think branding is a very old idea that is about architecture having meaning and signaling values to people. A model that is more important than built environment that people cannot understand. Architecture a serious role of communication that converse with people who use or view the building in a way that creates value to it. It is important for architecture to have the branding dimension that makes it intelligible to non-architects. Branding for architect is different. It reflects what they believe in as important about architecture, but that’s usually less important to people who are not architects.

“Some people may see this as confusing or chaotic, another way of looking at this is that what actually make an interesting city. A monobranded urban fabric might be boring. For example, in Washington DC, most of the big building are governmental or history oriented, and that what makes it boring to some people.”

The key consideration in designing branded architecture is the message that building needs to convey in terms of brand. The value it needs to embody becomes its brand, and it needs to be thought of even before the design starts. It is a very verbal way of thinking about design. I

From your perspective, what are the effects of having multi-branded urban fabric?

What of the role of architect in embracing the brand of the client?

“I think it depends on the architect. Some architects, like Mies and Richard Meier, have their signature style of design, and that becomes their brand. Another architect, like Eero Saarinen, design each project differently. However, some clients choose to work with architects who have signature style because it meets with their brand.

Think of Bilbao, the Guggenheim, I think, very specifically chose to work with somebody who

is overt like Gehry, because the Guggenheim brand is that art matters, art is important, art is valuable.”

How does branding affect the lifespan and the value of architecture?

“I think it depends on the building. There are concepts and brand that are much more universal, for whom the life span could be forever. For example, when some people see the classical Greek architecture, they think about democracy and what the Greeks have contributed to the world. But if the brand is really tied to a particular product or company, then life span of that architecture would be shorter.

In terms of value, if the brand incorporated in architecture give a meaning, a way of communication with people, I think this would be an enhancement for architecture.”

SUSAN BLOMQUIST, AIA, LEED Associate Architect Payette Architects December 2016, Boston, MA Susan gave a presentation on branding and architecture in Payette forum. The presentation has been posted on Payette.com. I asked Susan to talk about the contents of the presentation, and her approach to branding and architecture.

Susan replied: “I think the main question is, do architects need to maintain a critical distance from the brand identities of the clients? Do they have any responsibility to create spaces that represent their brand in an overt way? Should they create spaces that are just functional and aesthetically pleasing? Should the client be responsible of overlaying the architecture with what is necessary to his brand? Or should they collaborate with the clients to support their consumeristic agenda?

This was the question that I posed to the group who attended the forum at Payette. Then I went through some of the history of the topic. The AEG factory and the Bauhaus building represented the sense of modernity through architecture.

They had famous logos, and their architecture was defined by the essence of their brand. Then I moved onto more modern example that nicely parallel with the AEG factory, which is Apple.

Apple products are modern, slick, and enticing objects, and their buildings give the same feeling. So now, the architecture becomes an extension of the brand.

Then I mentioned some of the ubiquitous examples where brand dominates a generic, big box architecture. McDonald’s and Walmart have logos on big signs, cars, and workers’ clothes to accentuate the imagery of their brands. Then I talked about architecture that is on the far end of the spectrum from McDonald’s and Walmart, like fashion brands who compete by working with famous architects to design the most eyecatching stores. In this case, the high-end brand is associated with high-end architects.

Not only retail brands build iconic buildings to promote their brand, but also museums and institutions. Guggenheim is an example of the envelope-pushing architecture that seeks to identity itself. On a larger scale, countries brand their identities through architecture.

For example, embassies express the cultural presence of whole nations. The old building American embassy in London literally itself through the eagle, while the new building express more modern theme. World fairs can be a whole other way of cultural expression. In world expositions, each country tries to assert itself amongst other pavilion and standout in the world community. The UK pavilion in expo 2010, The Seed Cathedral, is an evocative expression of the English modern, and in way futuristic, architecture. So that is a big move in branding, a culture through architecture.

Also, I talked on how healthcare and science buildings, also because they are part of our services at Payette, use architecture to express their approach of inviting nature into the scene, and providing this touch to the patient care through utilizing wood and natural motifs. For example, a corridor in one of the hospitals is provided with lights that move and change the color as people move through it in a way that represents the DNA. And children’s hospitals, with all the drawings on the walls and the colors, one can’t be in there without being aware of the fact that he is in a children’s hospital and in a sense, this is a brand.

And then the universities. I went to the UVA, which is very committed to the reinventing the Jeffersonian architectural on its buildings. All the new buildings were design to match the neoclassical architecture of the Jeffersonian buildings. Then the school of architecture wanted to build an extension. Professors of architecture questioned replicating the neoclassical building to represent the Jeffersonian ideals. They claimed that Jefferson considered him as an inventor. He came up with all those techniques on Monticello which are considered as inventions in that time. And then the extension of the architecture school became a modern building.”

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BIBLIOGRAPHY 79

Venturi, Robert & Scott Brown, Denise & Izenour, Steve. (1977). Learning from Las Vegas: the forgotten symbolism of architecture form. MIT Press.

Frampton, Kenneth (1995). Studies in tectonic culture. The poetics of construction in Nineteenth and Twentieth century architecture.

MIT Press.

Unwin, Simon. (1997). Analyzing architecture.

Architectural Press.

Leach, Neil. (1997). Rethinking architecture: a reader in cultural theory. Routledge.

Anderson, Stanford. (1980). Modern architecture and industry: Peter Behrens, the AEG, and industrial design. Oppositions reader. MIT Press.

Nadin, M. (1980). The Journal of Aesthetics and Art Criticism, 38(3), 338-340. doi:10.2307/430140 Ruckstuhl, F. (1916). What Is Art? A Definition.

The Art World, 1(1), 21-28. doi:1. Retrieved from http://www.jstor.org/stable/25587648 doi:1

Bonta, J. (1980). The Journal of Aesthetics and Art Criticism, 38(3), 340-342. doi:10.2307/430141 Weber, R. (1991). The myth of meaningful forms: comparing the forms of indigenous and classical architecture. Traditional Dwellings and Settlements Review, 2(2), 65-73. Retrieved from http://www.jstor.org/ stable/41757113 Maulden, Robert. (1986). Tectonics in architecture: from the physical to metaphysical. Master thesis. Massachusetts Institute of Technology (MIT).

Slade-Brooking, Catherine. (2016). Creating a brand Identity: a guide for designers. Laurence King Publishing.

Wheeler, Alina. (2009). Designing brand identity: an essential guide for the whole branding team. John Wiley& Sons.

Schielke, Thomas. (2015). Article on Archdaily. com. What happens when lights starts to create brand experiences. http://www. archdaily.com/774521/what-happens-whenlight-starts-to-create-brand-experiences.

Blomquist, Susan. (2009). Associate architect at Payette. Internal presentation at Payette office by http://www.payette.com/post/762192architecture-branding-and-identity.

Crosbie, Michael. (2016). Professor of Architecture, University of Hartford. Interview.

Blomquist, Susan. (2016). Associate Architect at Payette Architects. Interview.

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RETHINKING ARCHITECTURE THROUGH BRANDING

BY FAHED Y. BAKER

Thesis submitted to the Department of Architecture in partial fulfillment of the requirements for the degree of Master of Architecture May 2017 Department of Architecture College of Engineering, Technology, and Architecture university of Hartford © 2017 Fahed Baker. All rights reserved.

Thesis submitted to the Department of Architecture in partial fulfillment of the requirements for the degree of Master of Architecture Š 2017 Fahed Baker. All rights reserved.