CAAA Centre for Arts and Architecture Affairs

CAAA Centre for Arts and Architecture Affairs

Maria Margarida Almeida ALM10286371

MAGB&I

UNDERSTANDING

THINKING

CREATING

BRINGING TO LIFE

02

WHAT IS THE CAAA 04 OBJECTIVES 08 BRIEF 12 WORKPLAN 22 VISUAL TESTS 27 APPENDIX 35

WHAT IS THE CAAA

“

from collaboration to absolute unity among the plastic arts

”

(by Constant. Published in Forum vol. 10, no. 6, July-August 1955.

Translated from the Dutch by Robyn de Jong-Dalziel)

The CAAA, Centro para os Assuntos da Arte e Arquitectura

(Center for Arts and Architecture Affairs) is to be situated in Guimarães, Portugal, and aims to support, spread and encourage the creation and application of new methods of production in several areas of artistic expression – visual arts, architecture, design, cinema, literature, multimedia, and performing arts – and be part of the cultural network that will support Guimarães as the European Capital of Culture in 2012.

CAAA ensures technical and physical support to the

artists who will make use of the various available spaces according to their needs. CAAA wants to generate discussion and collaboration between different artistic and technological platforms not only through the sharing of a physical space but also through the involvement in the cultural programming. CAAA is a new channel of access to contemporary art, exploring a new curatorial practice with the assistance of several consultants, curators, and invited art directors. CAAA aims to reach a place of importance in the local, national and international artistic panorama, through the implementation of new methods of institutional cooperation.

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WHAT IS THE CAAA

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workshops

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publisher

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London

CAAA

Rio de Janeiro

All detailed information about each area of the CAAA is available in the document appendix, page 35.

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WHAT IS THE CAAA

Location of the building in the city of Guimar達es, Portugal

06

FLOOR 00 17m2 24m2 25m2 28m2

OAAA 36m2

GAAA

200m2 60m2

50m2

EAAA

187m2

LAAA

40m2 60m2

REHEARSAL ROOM

READING ROOM / ARCHIVE

GALLERY

AAAA

BLACK BOX

36m2

PHOTOGRAPHY CENTRE

RAAA

GALLERY

36m2

SHOP / PERFORMANCES

36m2

STUDIO / RESIDENCE

VAAA

STUDIO / RESIDENCE

STUDIO / RESIDENCE

OFFICE

OFFICE

CATALOGUE PUBLISHER

11m2 18m2

GALLERY

LABORATORY

19m2

LABORATORY

12m2 10m2 9m2

LABORATORY

OFFICE

OFFICE

OFFICE

FLOOR 01

WHAT IS THE CAAA

AAAA EAAA

100m2

GAAA

160m2

Inside the CAAA’s building.

Locations of each area of the centre.

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OBJECTIVES PROPOSITION

Develop all graphic identity and sign system for the CAAA - Center for Arts and Architecture Affairs

08

OBJECTIVES STATEMENT OF INTENT

This is a real project that was proposed to me by NAAA, an architect company. At the end of last year they contacted me and told me about the CAAA project. They asked me to do all the graphic identity as well as sign system.

The main reason for choosing this proposal as my MA final project is that it is a graphic identity project and personally this is my major area of interest. Professionally this project can be very important to me because during its development I will go through every stage of creating an identity. I will learn and apply methods of research, methods of designing, and I believe that in the end I will have achieved enough knowledge to be able to continue my career in the branding and graphic identity area.

CAAA will start as a relative small centre in a small town in Portugal, but their idea is to grow and start working abroad as well as making connections with other centres around the world. My final output must be able to effectively communicate and promote the CAAA, and my main aim is that I can find an interesting new approach to branding the arts.

As the main goal of CAAA is to serve and reach people who are interested in arts, whether they’re students or art collectors, it is my aim to brand the centre in a way that it will not only communicate with these people, but also in a way that will attract new audiences and help CAAA to show itself worldwide.

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OBJECTIVES FIELD OF STUDY

It is my intent to research and work in the area of branding and identity, focusing on branding the art centre and end up with a new approach for creating its graphic identity.

I will begin my research in two categories: communication and promotion. In these categories I will, through research and testing, figure out how arts can be communicated and promoted in an effective way.

Communication and promotion can be made through channels, in form of print, screen, online, outdoors. I’ll be looking at examples that already exist and see how they function.

I will be looking at examples not only of art centres but also museums, theatres, indie music labels, among others.

Research into existing graphic identities will be done and I will study and test the best way of creating CAAA’s identity.

At this stage I must be familiar with the intentions of the brief and aware of the main aim of the centre.

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OBJECTIVES FIELD OF STUDY

branding the arts

communicating the arts

promoting the arts

visually, through its graphic identity

available channels

building a brand creating an identity

research / analyze graphic IDs

print screen online outdoors

budget / costs

museums venues theatres art centres indie music labels film/cinema

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BRIEF FOCUS

I will focus my project on the communication of the CAAA and on how its graphic identity can be designed in order to find an efficient and new way of communicating with the audience.

In order to find that way I’ll have to acknowledged all the aspects of the CAAA, how it will function, what it will offer and how it wants to be seen. What are the client’s key issues and objectives.

It is also important to analyze the location of the centre, to explore it geographically and find out what other places are offering art in the surrounding area. I’ll be making a visit to the building in August and this will give me a perception of what CAAA is physically, it will help me understand how all the spaces connect with each other, and be aware of the dimension and the essence of the building.

I believe that when I have achieved all the CAAA’s essence I’ll be able to lead my path through a more precise way, and can begin to make connections and find interesting approaches to its visual identity.

I’ll will be looking at graphic identities of entities that promote arts, whether they are museums, venues, art centres, music labels, film/cinema, photography. I will research and understand how their identity functions and how the audience perceives it. It will help me to analyze how graphic identities are developed, what they involve and what form can their output have - stationary, merchandise, outdoors.

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BRIEF FOCUS

communicating the arts

through its graphic identity

acknowledge CAAA’s aim and objectives

building a brand creating an identity

research / analyze graphic IDs

museums venues theatres art centres indie music labels film/cinema other entities

similar art centres

In Portugal: Lx Factory Casa da MĂşsica CCFV Serralves Museu Berardo

Lx Factory, Lisbon 104, Paris Rote Fabrik, Zurich (...)

Worldwide: TATE Modern New Museum Whitechapel Gallery Haunch of Venison Barbican Ecm Rune Grammofon (...)

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BRIEF CONTEXT

After the first meeting with the client I gathered and organized all the information they gave me but I still need some more information in order to clearly understand their objectives and to understand all aspects of the CAAA.

They provided me a map of Guimarães and its spots of culture, entertainment and education - all related to arts. One of the most important centres is Centro Cultural Vila Flor.

I visited their website and searched some elements of their visual identity as well as posters and leaflets to promote concerts and exhibitions.

Another identity that I looked at when I started my research was the well known identity for Casa da Música, by Stefan Sagmeister.

Utilizing the 17 facets on the building, Sagmeister and team formulated a method with infinite amount of outcomes. A special software was fashioned to render 17 fixed points on an image and transfer them onto corresponding “sides” on miniature Casa de Música silhouette. Next, the silhouette is put through 6 variations, basically the view of the concert hall from north, south, east, west, top and bottom. Though somewhat complex, Sagmeister’s new creation allows endless possibilities in logo design.

I also looked at similar centres around the world, visited their website, get to know their identity and understand how it functions and communicates with the audience.

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Guimarães Municipality, Portugal 162.500 inhabitants

Architecture department of the University of Minho MA in architecture

Guimarães Castle museum

College of Arts Porto-Guimarães BA in design BA in illustration BA in multimedia MA in illustration MA in digital animation

Paço dos Duques de Bragança museum galley showroom

Municipal Library “Raúl Brandão“ Municipal Archive “Alfredo Pimenta“

Guimarães’ Cineclub Museum of modern primitive art

Cultural and recreational association Casa da Memória museum / gallery

Alberto Sampaio museum

Municipal market studios / galleries Martins Sarmento Society museum / gallery

Lab. das Gallery Gallery artes

Centre of arts and performances S. Mamede

Musical association of Guimarães Hostel

Ciência Viva Centre

Institute of applied design

CAAA

Centre of technological specialization

Cybercentre Jordão Theatre 1220 seats

studios blackbox/cinema studio - 130 seats 3 galleries bar Vila Flor Cultural Centre exhibition centre 2 auditoriums - 1000 seats meeting room restaurant / cafe-concert

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18

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AAR(ie)L

Art and Architecture Research Lab Columbia University www.arch.columbia.edu

Other art centres around the world 20

Le Cent Quatre www.104.fr

798 Space

www.798space.com

CAAA Pact

www.pact-zollverein.de

RadialSystem-V-

www.radialsystem.de

LX Factory

www.lxfactory.com

Matadero Madrid

www.mataderomadrid.com

Zoneattive

www.zoneattive.it

Rote Fabrik

www.rotefabrik.ch

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WORKPLAN METHODOLOGY: RESEARCH PLAN

1. Research through design I’ll use graphic design as an instrument for investigating what is the best way of building a visual identity.

2. Research into design I’ll be exploring and testing different methods of creating a graphic identity. Methods acknowledged by me as well as from other identities.

3. Research about design Researching on form, typography, composition, among others.

Primary sources Primary sources will include visual investigations of identity systems, visiting museums and art centres to collect all possible design work about identity and signage and reading about the build of an identity.

I will also go throught branding reports (by tutor John Bateson).

I’ll read thesis on the same area as mine, produced by MAGB&I alumni.

Secondary sources I will go through design blogs and magazines/journals to achieve theoretical concepts about identity design.

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WORKPLAN METHODOLOGY: DEVELOPMENT PLAN/SCHEDULE

JULY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 AUGUST

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 SEPTEMBER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 OCTOBER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 NOVEMBER

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

research (visual investigation) & reading (bibliography about branding and graphic identities) I’ll be at the beach meeting with client and visit the building - make sure all is understood about CAAA’s functionality gather all the research and make conclusions sketching and designing the identity system / testing the identity putting together and editing the manual & write the report prepare documentation to be printed & print hand-in 25

WORKPLAN OUTCOMES

The outcome of this project will be the identity manual of CAAA. This will include logo system, typeface(s), stationary, invitations/tickets, posters, brochures, merchandise design.

All internal signage and wayfinding system of the building will also be part of the outcome.

Layouts for the CAAA’s website will be developed, possibly in three different languages.

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WORKPLAN BIBLIOGRAPHY AND READING LISTS

c/id : visual identity and branding for the arts / edited and designed by Angus Hyland ; text and interviews by Emily King, London : Laurence King, 2006.

Building strong brands / David A. Aaker, New York : Free Press, 1996.

Graphics explained : 7 top designers, 7 briefs, 49 solutions-- in their own words / Michael Evamy, Mies : RotoVision, c2009.

InsOut of a live communication project / Gianni Brandolino [et al.], Milan : Lupetti, 2008.

Museum Branding: How to Create and Maintain Image, Loyalty, and Support / Margot A. Wallace International corporate identity / edited by Evolution Graphics, Tokyo : Robundo, c1992.

idN magazine - Volume 17 no.1 - The Branding issue Grafik magazine - 183

http://www.underconsideration.com/brandnew/ http://www.underconsideration.com/speakup/ http://www.voice.aiga.org/ http://www.oberholtzer-creative.com/visualculture/ http://www.rotefabrik.ch/ http://www.104.fr/ http://www.798space.com/index_en.asp http://www.mataderomadrid.com/ http://www.lxfactory.com/

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VISUAL TESTS

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VISUAL TESTS TEST 1

One of the first graphic identities that I came across with during my initial research was the identity of Le Cent Quatre (104), an art centre situated in Paris. Its graphic manual was developed

by Experimental Jetset.

On the website of this studio, I found all the information about the development of 104’s identity.

They describe all the process: where they began, the decisions they made, what inspired them.

Reading all this process and analyzing the graphic manual (it is available for download in their website) was very inspiring to me and showed me how a concept (“work in progress“) can be applied and can live in a graphic identity.

The idea is to use this example and test my project using this line of thought.

What we also liked about the 104 logo is the fact that the line, the circle and the triangle very much refer to the idea of moving in space, of walking through a street. The stripe can be used as a line to be followed, the circle can be used as a spot to mark a location, and the triangle can be turned into an arrow. So the logo already contains, in itself, a miniature sign system.

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VISUAL TESTS TEST 1

During our first meeting, we noticed that one of the curators’ main themes, program-wise, was the concept of the ‘work-in-progress’: the idea that 104, as a project, is never finished, always evolving, eternally ‘under construction’. So our starting point was to search for a sign system that would refer to the concept of the ‘work-inprogress’. That’s when we became interested in the concept of scaffolding. (...) We realized that a sign system based on the idea of scaffolding would be a constant reminder of the continuous cycle of building, demolishing and rebuilding.

In Walter Benjamin's 'The Arcades Project' a whole chapter is dedicated to the history and ideology of metal constructions, and the use of iron in winter gardens, railroad stations, the Eiffel Tower, but especially the use of iron in passages and arcades. And the building of Le Cent Quatre really is an arcade, a passage. It is a street with a roof, built towards the end of the 19th century.

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VISUAL TESTS TEST 2

Rune Grammofon Rune Grammofon is a record label dedicated to releasing work by the most adventurous and creative Norwegian artists and composers.

Being music enthusiasts almost to the point of absurdity, we don’t want to limit ourselves to certain genres, as long as there’s real heart and personality. With an increasing number of indifferent records bombarding the market place, we modestly aim to recapture the magic connected to the discovery of new artists and buying their records.

Our aim is to put love and care into each release, giving it the best possible design and packaging. No plastic, ever.

All releases come in the digipak format with exclusive design by brilliant designer Kim Hiorthøy.

Rune Grammofon is a record label that operates in Norway. Their aim is to step away from the busy market that is full of record labels and make a new approach to the act of buying music.

They did it through the design of the album covers. They never use plastic, and all releases come in the digipak format with design of Kim Hiorthøy.

By doing this, they are able to sell music not as a simple CD, but as a piece of art.

This example showed me that a different approach and an unexpected new way of solving a problem can make an idea stronger.

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VISUAL TESTS TEST 2

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VISUAL TESTS TEST 3

Stedelijk Museum CS sign system

To underline the temporary, interim character of the location, we decided to compose the sign system entirely of so-called 'document holders': hard plastic, transparent A4 cases. This proved to be a very easy and practical system. We would print out the A4s ourselves, and just fill the holders with them.

Added to these more pragmatic reasons, the bureaucratic aesthetic of the document holders also referred perfectly to the old function of the location (post office). Furthermore, this signage system was a way to channel our fascination for standardised formats (such as the A4 format) and modular systems. We also liked the fact that the document holder is such a common element at exhibitions. For our sign system, we took this common element, and we exaggerated it by blowing it up to absurd proportions: we used 2000 of these plastic A4 holders in the whole building.

In creating these sign system, Experimental Jetset studio reached a very different approach to signage. It is easy to apply and use, cheaper, and can be easily changed anytime.

Observing this sign system gave me a new vision of how the systems can be modular and flexible, instead of fixed elements in the building.

This can be taken as an example and tested when designing the signage for the CAAA.

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VISUAL TESTS TEST 3

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APPENDIX

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The RAAA ResidĂŞncia para os Assuntos da Arte e Arquitectura (Residence for Arts and Architecture

affairs) provides space for housing and production facilities for artists - as professionals or in the training process, national or international - in a period of time that can go up to one year, depending on the type of work to be developed. RAAA has as its main objectives the mobility and interchange between artists and architects, the experimentation of new concepts and techniques, the confrontation with other cultural realities and the formation and development of a project. RAAA is based in a trading principle: in exchange for accommodation and working space provided, it is required that the artist and/or architect develops and produces material to be exhibited, published or broadcasted, applied in workshops or round tables to be held in the CAAA premises.

The EAAA EstĂşdios para os Assuntos da Arte e da Arquitectura (Studios for Arts and Architecture

Affairs) are places of work, creation and rehearsal to be occupied by residents of RAAA as well as the outside artistic community. EAAA work as a starting point for new businesses related with artistic innovation, creation and development of new methods and work practices. EAAA are based in the same trade principle as the RAAA in what relates to residents, but availability of spaces to the external community will be provided through a fee to be defined.

The OAAA Oficinas para os Assuntos da Arte e da Arquitectura (Ateliers for Arts and Architecture

Affairs) are fully equipped experimental laboratories that are available to both the residents of RAAA and the outside artistic community. OAAA promote the artistic practice related with technologic innovation, inviting the artist and/or architect to venture in new experimentation and investigation fields or development of new applications. OAAA are based in the same trade principle as the RAAA and the EAAA in what relates to residents, but availability of spaces to the external community will be provided through a fee to be defined.

The GAAA Galerias para os Assuntos da Arte e da Arquitectura (Galleries for Arts and Architecture

Affairs) are a group of spaces that have on the presentation and dissemination of the work made both in the facilities and by the artistic public as it´s main purpose. GAAA comprise two galleries and a performances room for exhibition of the works created by the artists, being them solo or collective. the GAAA wish to make the direct bridge between artist and general public. The gallery #1, besides representing and exhibit resident or external artists, has a commercial scope oriented towards the contemporary art market. The performances room and gallery #2 will be available to the artistic community for production of events, performances, concerts, exhibitions, etc, with schedule and fees to be determined.

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The VAAA Veículo para os Assuntos da Arte e da Arquitectura (Vehicle for Arts and Architecture

Affairs) will be the main mechanism for communication with the outside world in the form of a website, blog, periodical magazine, catalogue and a publisher. VAAA online will be the most updated communication platform, used for marketing purposes, cultural programming presentation, holding a database with portfolios of the artists involved in the CAAA activities, etc. the website will contain all the institutional information about the mission, history, services, infrastructures and contacts for the Center. the periodical publication encloses all the information related with works developed and divulged in the CAAA, opinion articles according to selected themes, broadcasting of research papers and innovating essays and future cultural programming. the publisher will focus on production and publication of catalogues of exhibitions, thematic editions, research thesis and artist monographies.

The activity and maintenance of VAAA will be the responsibility of the editorial team and external contributions either national or international. the VAAA will be supported by institutional sponsorships and internal budget specifically allocated.

The AAAA Arquivo para os Assuntos da Arte e da Arquitectura (Archive for Arts and Architecture

Affairs) is freely accessible to all residents of CAAA. The public can access the Archive, but it requires a previous registration. AAAA is where all the physical volumes and digital files of existing publications are located, registries relatives to artists involved with the CAAA and exhibitions, activities and interventions produced in the premises for the use of general public or researchers. The archive will be constructed through acquisition of specific collections and will count with an annual budget from CAAA and institutional sponsorships. the CAAA residents will have to complement the archive by means of donations or recommendations.

The LAAA Loja para os Assuntos da Arte e da Arquitectura (Store for Arts and Architecture

Affairs) is divided in two spaces, a shop and a café-concert, which will operate new business concepts.

LAAA is destined to the show and sell of products related with all the artistic disciplines, produced in the CAAA or by external artists that wish to commercialize their products. it will also be a place to commercialize the VAAA publications and other volumes. the café-concert, with access by the general public, will promote small scale cultural events, such as performances, concerts and readings. The programming of the café-concert and management of the store will be done by the CAAA and will be one of the income generator for the CAAA. Management of these infrastructures may be given to external entities.

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London College of Communication University of the Arts London 2010