3190201 | How contemporary city branding of Peniche affects the promotion of the destination

June 2020

ESAD.CR, ADG II.

Kaja Bukovec

How contemporary city branding of Peniche affects the promotion of the destination

HISTORY OF BRANDING

BRAND / BRANDING / BRAND IDENT

WHAT IS BRANDING

Brand: how people perceive your co

Branding: the actions you take to bu certain image of your company

Brand identity: the collection of tang brand elements that together create brand image a 1950s McDonald’s postcard advertisement featuring billboardstyle architecture and an eye-catching color scheme.

Airbnb - brand redesign by DesignStudio Andy Warhol - Campbell’s Soup Cans

CITY / PLACE BRANDING

HISTORY OF CITY BRANDING

City branding refers to all the activities that are undergone with the purpose of turning a City from a location into a destination.

mid-19th Century - attracting rural populations to urban centers for labor.

movie tourism Game of Thrones in Dubrovnik, Croatia

BRAN

EXPO Dubai 2021 Portuguese pavillion

REMOTE TOURISM “Dream now, travel later” campaigns Faroe Islands Travellers can now see this pristine nation through the eyes of a local using their mobile phone to navigate.

PENICHE

identity - what the city is main characteristic city branding urban planning advertising

tourism

experiences from home

perception how the city is percieved

tourist friendly

ideological

citizen friendly

historical

unique history

cultural

events, culture infrastructure

welcoming keeping it local

sociological global uniqueness

cultural heritage

I FEEL SLOVENIA - #stayhome so we can #traveltomorrow

new opportunities

values

economy

main industries

identity - how we want the city to be percieved

psychological

local / tourist

worth visiting

POST COVID-19 TRAVELLING

THE POWER OF BRANDING IMPORTANCE OF BRANDING

TITY

ompany

AAron Draplin is an American graphic designer, author and entrepreneur

uild a

gible e one

OVERBRANDING, PRODUCT PLACEMENT GENTRIFICATION

Logorama is an animated short film that explores the extent to which logos are embedded in Earth’s daily existence.

BOOK: The Right to the City - question of gentrification

a neighborhood that is gentrified can become a “victim of its own success”

NDING

IMPACT OF BRANDING FOR TOURISM BOOK: The Power of Place - elements of a social history of urban space

PENICHE NEW CITY BRANDING

ONLINE TRAVELLING PLATFORM

researching the history of the city’s branding and develop strategy and design concept for the potential rebranding

response to Covid-19-ish situations travelling available to anyone & everywhere reliving memories / new experiences new approach for travel bloggers & tourguides

City Brand benefit pyramid exploring how brand identity effects the city’s identity and opens dialogue with its historical, cultural, social, environmental, and architectural narratives and above all, with the city’s personality

TBA

GOOGLE EXPEDITION

GOOD EXAMPLES, INSPIRATION AIRBNB EXPERIENCES

My Switzerland

Oslo toolkit

reference work recognazibility & positioning on the map

introduction The question I will research is how the new city identity can affect promotion of the tourism and if locals can feel more connected with the city if the identity speaks to them as well. How important is tourism in terms of branding cities? What makes people want to visit or stay to live?

Redesigning city’s identity is necessary at certain point but at the same time risky because there is a chance the new identity will not speak to the citizens and tourists but will serve just as a modern visual improvement, which is not made for people but for designers. There also comes a question of gentrification and the fact that city without locals is not interesting in terms of tourists.

In my master thesis I will research what branding is and how it all began, what is city branding and I will also focus on its impact on the tourism of the destination. For the practical part of the thesis I will develop contemporary city identity of Peniche which urgently needs re-design as it is one of the main Portuguese travelling destination and unfortunately has visually poor current identity.

Peniche is a coastal town an hour drive north of Lisbon. Fishing has always been one of the main sources of income, but in the recent years Peniche is perhaps best-known for its long beaches and waves, which attract thousands of travelling surfers every year.

Peniche has a big potential, be it contemporary tourism promotion, digital presence or value for its residents and their relationship with the municipality activities. The question is what the city already means to people and how can residents, tourists, and investors co-create city branding?

I will investigate how Peniche is positioned on a map as a tourist destination and of course when I will have all the information I will develop strategy for the potential rebranding.

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City bra nding op ens dialogue wit h its historical, cultural, social, environmental, and architectural narratives and above all, wit h t he city ’s personality.

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City branding opens dialogue with its historical, cultural, social, environmental, and architectural narratives and above all, with the city’s personality. Successful branding can turn a city into a place where people want to live, work and visit.

City or urban branding refers to all the activities that are undergone with the purpose of turning a city from a location into a destination. Place branding started in the mid-19th century in order to attract rural populations to urban centers for work. Later, the practice would be used for tourism purpose, especially in Europe, with famous posters of places.

How the new city identity can affect promotion of the tourism? Can locals feel more connected with the city if the identity speaks to them as well?

Culture adds an emotional value to the city brand, evoking emotions and creating memories which, combined with personal experience and expectations, can be a strong driving force in terms of consumer behavior. Nowadays cities use increasingly more cultural events to enhance their image, to stimulate urban development and to attract visitors and investors.

Branding a city is not just about the logo but the details — as small as clean streets and as deep as getting a city’s residents to feel proud to be brand ambassadors. When citizens are proud, visitors are encouraged to find out what the fuss is all about. I want to develop contemporary city identity which will serve its residents as well as potential tourists.

After I will read lots of material about city branding and Peniche, I will go around, get to know the city even better, collect pictures and details of the city and it’s colors and shapes. Part of my research and methodology will also include interviews with locals as well as with tourists, to get the better view on their connection with the city and their needs. I will also develop a few possible visual identity principles and conduct an online and offline survey to get the feeling which identity speaks to the people better.

The future of tourism can also be affected by the unexpected situations so the issue is also how travelling will look like post Covid-19 and how the epidemy influenced tourism sector and the ways we will travel in the future.

Coca-Cola (introduced in 1886), Colgate (1873), Ford Motor Company (1903), Chanel (1909) and LEGO (1932) were all first-of-t heirkind pioneers, trendsetters, and brandbuilders.

We’re living in the Golden Age of Branding. There are more ways than ever for businesses to carve out their niche in the marketplace and connect directly with their customers and fans. But the history of branding actually goes back centuries. This discipline and art form has evolved over the years to become an essential part of building any successful business.

1500’s: The beginnings of branding In Ancient Norse, a Scandanavian language, the word “brandr” means “to burn.” Originally, a brand was a burning piece of wood and later described a torch. By the 1500s, it became common to brand cattle in order to show ownership. Right from the start, branding was all about making your mark, both literally and figuratively. Each branding mark was unique to the cattle ranch itself. They were simple, distinctive and instantly identifiable—the tried and true pillars of any great brand. Think of these icons like the first product logos.

histo of brand ing 1750’s-1870’s: The Industrial Revolution Europe and the United States transformed during the 18th and 19th centuries with new manufacturing processes. This historical time sparked the advent of the mass production of goods, a result of increased efficiency and technology in the workplace. More products meant more choices for consumers. Since companies now had more competitors than before, there was a sudden need to stand out and take ownership.

1870’s-1920’s: The era of invention The turn of the 20th century was a time when technology began to transform everyday life and we got a glimpse of what our future could hold. The century began with the birth of several iconic companies that would eventually become leading brands around the world. Coca-Cola (introduced in 1886), Colgate (1873), Ford Motor Company (1903), Chanel (1909) and LEGO (1932) were all first-of-their-kind pioneers, trend-setters, and brand-builders. These brands were inventive and the first of their kind, which made them instant industry leaders. During the era, brands made their mark through newspapers and magazines. Print provided a space where brands could use words, logos, and illustrations to differentiate themselves. Advertisements were often very informational and described exactly how products worked and what they could do (1).

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1920’s-1950’s: Brands on the air

2000s-Today: Beyond basic branding

Now that production was more efficient, and companies were finding value in officially taking ownership of their products, the next logical step was talking about them in a setting where potential customers would listen. At the beginning of the 20th century, most radio stations were operated by radio equipment manufacturers and retailers that mostly used their stations to promote their businesses.

By the 1920s, radio had become much more popular, and station owners looked to advertising as a way of making their businesses more sustainable.

Branding came to life through radio jingles, catchphrases and targeted messaging.

Looking to the future, it’s important to note that we have a lot more brand options now than we used to, and someone is always being chased by a competitor. It can be harder to stand out, so it’s important to come up with ways to break through the noise.

Since the dawn of the digital age in the late 1990s and early 2000s, branding, marketing, and advertising practices differ from historic techniques in many ways. TV advertising trumps print advertising, but social media advertising outdoes them all. Advertisers have more power (like the ability to target a demographic in a Facebook ad) and are becoming more data-driven and strategic. Plus, through apps, vanity URLs and a never-ending supply of custom hashtags, brands have no shortage of ways to dramatically increase brand awareness. While we certainly have technology to help make a brand stand out, companies also face major competition that wasn’t the case many years ago. Today, brand reputation isn’t only word of mouth: it’s word of review.

Customer reviews on Amazon, Yelp, Google and Facebook now have tremendous power to influence a brand’s perception. Buyers make decisions based on product ratings, and now more than ever, reputation is everything (1).

1950’s-1960’s: The birth of modern branding The post-World War II era was another transformative time in both product manufacturing and consumer culture. Think big, loud, highly visible forms of brand recognition: billboards, subway signs, loud architecture, product packaging, and more and more TV commercials, which were enhanced with the creation of color TV in 1953. During this time, companies developed the discipline of brand management after more and better competitors started appearing in their industries. Soon, countless products looked and functioned similarly. A brand manager had the task of creating a unique identity for a product to separate from its competitors. After studying target consumers, marketers developed a deeper understanding of their audience, which allowed them to tap into their wants and needs. With the right images and messaging, marketers created an emotional connection between their products and their consumers. If consumers “felt” like they had the better product, they would buy it. Branding had gone from informational to intimate.

1960’s-1990’s: Branding grows up As brands evolved over the decades, they needed to freshen up a bit or even take on a new identity to stay relevant, cater to changing tastes and differentiate themselves in an ever-growing field.

Revamping campaign slogans can also play a role in reinventing a brand and taking it to the next level.

The fast pace of modern branding gives brands a need to constantly stay ahead of their competitors.

Sometimes, all it takes is a great slogan, even if the brand is already well-known (1).

Bran d i n g ca me to l i fe t hrou gh radi o j i n gl e s, catchphra se s and targe te d messagi n g.

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A 1950s McDonald’s postcard advertisement featuring billboardstyle architecture and an eye-catching color scheme.

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branding

Branding is the marketing practice of actively shaping your brand. Branding is what your business needs to break through the clutter and grab your ideal customer’s attention. It’s what transforms first-time buyers into lifetime customers and turns an indifferent audience into brand evangelists. It’s what you need to stand out, make an impact and take your business to the next level.

Your brand is t he set of p erceptions people have about your company.

Branding today is so much more than just a look or a logo. It has come to signify the emotional “gut feel-ing” reaction a company can elicit from its customers. Your brand is the set of perceptions people have about your company. But branding is the set of actions you take to cultivate that brand (3).

Branding is important because it: Helps you stand out from the competition. It doesn’t matter what kind of company you have, what industry you’re in, or what type of customer you’re after—if you’re in business, you’ve got some serious competition. Branding helps you establish the ways in which you’re different, special, and unique. And it shows your customers why they should work with you instead of your competi-tors.

Builds brand recognition. If you want to build a successful brand, you need to be recognizable.

The right branding (including designing an impactful logo, website, and other brand assets) helps you carve out a distinct style, and it increases your brand recognition in the market.

Creates a consistent brand experience for your customers. In order for your business to succeed, you need to provide a consistent experience for your customers however they interact with your brand—whether that’s through your website, at an in-person event or by following your social me-dia accounts. Branding allows you to control how people perceive and experience your brand—and you can ensure that perception and experience stays consistent across all your brand touchstones.

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Branding is one of the most effective and result-driven marketing practices, which aids a business to create a name, design, and logo that are unique and facilitate customers to identify your business quickly. A super-effective strategy to brand your business can offer you a significant edge to stay ahead of your competitors in the highly competitive offline or online market.

Without proper branding, it isn’t easy to drive business sales and revenue on investment. It is imperative to brand your business in a way that reflects the industry and service or products that you manufacture for your customers. Planning and implementing a productive strategy can help your company to gain more popularity and drive the attention of the potential and existing customers significantly fast. Over time, it becomes easier to recognize a business when it has a completely different and eye-grabbing symbol, name, or logo (3).

Sparks a connection with your audience and turns that audience into loyal customers. The most successful businesses are the ones that foster an emotional connection with their audience. That emotional connection is what transforms a prospect into a customer and a customer into a brand enthusiast.

Different branding strategies can help you connect with your audience on a deeper level and create a sense of loyalty to your brand (4).

Andy Warhol - Campbell’s Soup Cans

importance of branding

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Guerrilla marketing is an advertisement strategy in which a company uses surprise and/or unconventional interactions in order to promote a product or service.

Why is branding important? Branding is the nuanced art of actively shaping your brand. With creativity, skill and strategy, a brand can establish an identity that sets itself apart from the competition and sparks a con-nection with its audience.

Branding is what gives you a reputation and, ultimately, a future. Because of the importance of branding, businesses and organizations should build a strong brand right from the start so they can consistently main-tain it as they grow (4).

Main reasons why branding matters: Branding tells your story in an instant Branding builds an emotional connection Branding builds confidence Great branding gives you purpose and direction Branding connects your values to a like-minded audience Great branding delivers results Branding generates growth (2)

Syrup on shit doesn’ t make it a pancake.

- Aaron Draplin

Why too much branding distracts from your most valuable branding tool, your products.

Granted the logo and branding are essential for success, but overly used it can actually harm your company by annoying the customer you most want to attract.

Branding through the designs and messaging should be for the purpose of creating a memorable impression of the wonderful product or service you offer the public. The branding graphics and text are not the product, exceeding the public’s expectations should be your strongest branding effort. As well as consistency and predictability through a well defined business system. Most companies fail because less than 75% of them have a well designed plan for success, or operational plans to weed out waste, or a plan to secure a consistent customer experience, or exhibit a clear and well defined brand.

Spreading the word is all well and good, but eventually, if we over promote or over brand then we can start desensitizing consumers (or customers) to our message, product or service. Over marketing, branding and promoting can turn people away quickly or even cause a distaste for what we are trying to sell.

Over mar keting, branding and promoting can tur n peop le away quickly or even cause a distaste for what we are tr ying to sell.

At a certain point, it can cross a line where people become complacent. Things can get old or boring fast and we want to keep the hype going and keep that bond with the consumer.

What is over-branding? Over-branding is when people put their logo everywhere, on every single image. Over-branding also occurs when brand owners have too many groups on Facebook to manage and have overlap, spreading the brand thin productivity-wise and involves over-exposure of branded elements. Over-branding happens when people can’t even enjoy an image without you having some sort of sales pitch attached to it – turning a basic image into a sales mechanism (8).

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Logorama is an animated short film that explores the extent to which logos are embedded in Earth’s daily existence (9).

overbranding

product placement

Anot her subt le tactic is to avoid showing a label or logo but featuring a product ’s distinctive color or packaging, such as a cur vy glass CocaCola bott le.

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Product placement is a form of advertising in which branded goods and services are featured in a video production that targets a large audience. Also known as “embedded marketing” or “embedded advertising,” product placements are typically found in movies, television shows, personal videos, radio, and — less commonly — live performances. In exchange for product placement rights companies may pay a produc-tion company or studio in cash, goods, or services.

Product placements are presented in a way that will generate positive feelings towards the adver-tised brand and are implemented, mentioned, or discussed through the program. They are not explicit ad-vertisements. This enables the audience to develop a stronger connection with the brand and justifies their purchase decision. When a brand appears in a movie, TV show, or other performance, it is most likely because an advertiser paid for that privilege. Some people believe that such advertising is inherently dishonest and deceptive to easily influenced children.

Advertisers and producers have become more sophisticated in how they execute product placements. For example, a product’s appearance may be relatively overt or seamless, such as if the same manufacturer made every car, shoe, or drink featured in a show or movie. Another subtle tactic is to avoid showing a label or logo but featuring a product’s distinctive color or packaging, such as a curvy glass Coca-Cola bot-tle.

Product placement creates explicit and implicit advertising effects. For example, viewers of product placement are more able to name a brand after seeing it used in the content. It can also create and cultivate different attitudes toward brands, as well as spur purchase intention. Brands placed with attractive characters or settings tend to appeal to people more.

The James Bond movie franchise provides many examples of product placement. While some advertisers change over the years, the constant is a robust lineup of product placements. For instance, in the fran-chise’s reboot Casino Royale, automaker Ford paid $14 million to feature James Bond driving one or their models in about three minutes of screen time (10).

City branding refers to all the activities that are undergone with the purpose of turning a City from a location into a destination. Successful branding can turn a city into a place where people want to live, work and visit. City branding is often confused with City marketing. The difference comes from the fact that marketing uses consumer wishes and needs as its guiding principle for the operations of an organization, whereas in the case of branding a chosen vision, mission and identity play that role (5).

City branding refers to the application of branding techniques to geographical locations in the widest sense of the word. City branding creates a single brand for the city and extends it to all its offerings and interactions. From a customer point of view, this creates a unique picture of the city at every level of interactions. This also helps in removing the need to present a case by case picture of the city for each of its offerings to the customers. A city brand is its promise of value, a promise that needs to be kept.

Good branding can assist in making cities desirable, just as bad branding can assist in making cities undesirable. It is seen that the successful city brands marketed their history, quality of place, lifestyle, culture, diversity, and proactively formed cooperative partnerships between city municipalities and government in order to enhance their infrastructure. Equally important is the role of positioning in the branding process, ie. creating a distinct place in the market for the city to occupy. Place branding is a process made up of several sub-processes. Unlike branding simpler entities like a product, service, company, person or classical subjects of branding, place branding, and in particular nation and city branding, is a complex process. The complexity comes from the great diversity of stakeholders in the process. In general, a place brand is derived from existing assets of the place such as its value offering or public perception. Otherwise, the place brand is derived from created assets, such as events, policies, abstract concepts of tolerance, and so on. The derived image of the place brand is then communicated through communication channels. These channels vary and range from television advertisements to Internet marketing efforts. These communications are aimed at a specific target market (6).

City branding re fe rs to all t he activi ti e s t hat are undergon e wit h t he purp ose of turning a city from a location into a destination.

Place branding is an interdisciplinary approach that can be focused in on as a field in sociology (including urban sociology, criminology, and cultural sociology), political science, cultural anthropology, cultural studies, communication studies, marketing, international relations, and others. It may even be applied to other arts and humanities, such as film studies or literature, in so far as observing how places are portrayed or imagined.

plac & ci bran

A city is not only what it shows on the outside, but most of all everything it inspires and transmits. The brand of a city is a strategic asset in terms of communication and business: a good city brand construction leads to good economic and financial results. In this age of hyper connection and cloned models, where everyone looks too much the same, those in charge of cities are starting to understand the key value they have in their hands even though in general they still undervalue it or directly ignore it. Competition among cities for the attention, time and money of businesses, travellers, tourists, students will keep on growing in the coming years, but if they really wish to be successful in the completion of their goals, they must embrace Branding in a professional way.

It’s not an overstatement to stress the importance of having a brand strategy to face the new demands in a technological and globalized world. Cities have to compete every day to lure tourism, investment and business. The brand of a city cannot be imposed, but certain aspects of it that attract the attention of the world can be found. It is a short term, medium term and long term task. It takes a lot of time, effort and consistency to build a brand, but the results are really worth it. Those in charge of the cities should put the brand above partisan interests, and nurture it and protect it for what it is: a strategic asset for the city (7).

18 19 To encourage the construction of an integrated and coherent city Branding will help to develop a consistent narrative and a strong idea on which to base and develop a plan with clear goals. Cities must ask themselves if they have a place in the mental and/ or emotional map of the people. If their positioning goes beyond the physical, if what they are, what they communicate and what they want to be is credible, honest and authentic.

How the visitors are received and attended to, how the city makes them feel or if they are made to feel part of the stories of the city. We may forget what a city is saying to us, but we will never forget how it made us feel. In that sense, if the goal is to improve the relationship the cities have with their “clients�, it is essential to propose the active participation of the citizens, since they are responsible for building the personality of their cities and their unique characters. They all contribute in a decisive way to create what every city transmits and inspires.

The construction of a city brand is a very complex task, much more so than that of a product or service. There are no secret formulas: only a mix of a clear strategy with hard work, vision, talent, creativity, innovation, quality of life, sustainability, technology, connectivity, development, efficiency and well-being are some of the ingredients of the essential recipe, plus leading professionals to cook them to make the perfect dish.

Place branding and marketing is the process of creating an identity that helps unify, recruit, and retain residents, tourists, and businesses in a nation, state, region, or city. The goal is to capture the positive attributes and attitudes that make a place desirable. City branding specifically means to turn a municipality or neighborhood into a destination that makes you want to live there, work there, and play there. Places with a well-known history or major attractions usually develop a brand organically over time. Strategic branding is planned with specific results intended within a given timeframe, just like any marketing endeavor (11).

ce ity nding

Branding allows a city to positively represent t hemselves, combat negative stereotypes and clarify what it means to be par t of t hat city.

The book is exploring how brand identity effects the city’s identity and opens dialogue with its historical, cultural, social, environmental, and architectural narratives and above all, with the city’s personality

WHY IS CITY BRANDING NECESSARY? Branding is a very important tool. Businesses employ clever marketing tactics to attract the right customers and build a positive reputation. Celebrities bank use the benefits of their personal brand to gain publicity and fame, in turn attracting fans, sponsors and contracts. Just like businesses and celebrities, cities can capitalize on effective branding too. As they can use branding to increase tourism by painting a positive picture of what it is like to live, work and visit the city. Cities can also use branding to strengthen ties with local businesses and to positively reinforce the core values that form the foundation of a city to extend to: Economic Development. The local economy is the backbone of any city. Without a sustainable local economy, a community cannot thrive. Instead, small businesses will decline, unemployment will increase and residents will leave. Branding is an integral part of improving a city’s visibility and can help promote sectors that attract tourists, businesses and residents. Moreover, successful businesses look for highly-regarded cities for expansion. Communities can make the most of these opportunities by branding themselves as hubs where new, existing and growing businesses can thrive. Attracting businesses in this way boosts revenue, allows municipalities to offer of more services for residents and improves the overall quality of life for everyone. Additionally, well-executed campaigns can attract the attention of regional government for more potential funding and investment.

New Residents. Professionals and families look for great communities to relocate to for work, quality schools, and just to write the next chapter of their lives. Whether its international travelers wanting to move to a new country to local citizens seeking a new destination to call home, city marketing makes your community visible on their radar. Communities can reach out to these potential residents by branding themselves as a desirable location. Cities can do this by promoting their efforts and initiatives in areas such as: employment, housing, tax, healthcare, safety, education and numerous others.

Tourism. People want to travel to places that are unique, interesting, popular and safe. Cities can harness the power of branding to help boost local visits by promoting themselves as a trendy enclave, serene community, or prime locale for celeb sightings and filming. Cities with effective branding can appeal to various audiences by offering captivating attractions or creating initiatives to brand themselves as welcoming places to visit (12).

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New city identity of Istanbul and Helsinki

The practice of place branding is understood to have emerged in the mid-19th century. The United States, in particular, began such strategies in order to attract rural populations to urban centers for labor. Later, the practice would be used for tourism purpose, especially in Europe, with famous posters of places. However, the practice would not become commonplace among cities and countries until recent years. This emphasis is considered to represent a broader phenomenon that emerged around the 1970s known as urban regeneration, whereby systems of production within developed countries became “vertically disintegrated,” giving way to post-industrial societies, typified by “entrepreneurial” forms of governance. Such interest seems to have come out of recognition that “places of all kinds can benefit from implementing coherent strategies with regard to managing their resources, reputation and image.”

Before the nineteenth century, the first wave of primitive city branding is based, most fundamentally, on the philosophy that formal governments and various members of the urban elite such as landowners and aristocrats control urban space. Techniques such as selective portrayal of cities in maps and official proclamations suggest these powerful groups assumed that shaping how people perceive the city could help to advance their interests (13).

his of bra

The rise of entrepreneurial or ‘business-like’ urban governance around the 1970s stimulated a third wave of city branding practice. An assumption that the city’s image holds the key to prosperous urban futures stimulated even greater focus on promotion, although large-scale redevelopment projects and mega events also became part of the city branding toolbox.

Around the late 1980s, city branding groups began to embrace somewhat more formalised marketing philosophies. Customer orientation appears to exert the greatest influence on this fourth wave with city promotion, and the city itself, increasingly designed around the needs and desires of target audiences such as service industry workers and tourists (13).

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Large-scale redevelopme n t projects and me ga events also b e ca me par t of t he ci ty branding tool b ox .

The second wave of boosterish city branding practice developed between the nineteenth century and the late twentieth century. Governments and the urban elite remained the dominant players but this wave is also underpinned by an assumption that cities must design and promote, by whatever means possible, an identity (e.g. the ‘industrial city’) that appeals to particular audiences such as workers, visitors and investors.

story city anding

In addition to fishing, which has always been one of the sources of income of its people, Peniche is also known for the art of bobbin lacework, perfected by the women while the men were out at sea.

The old, walled part of town is dominated by an impressive sixteenth century Fortaleza. Peniche’s fortress has been through numerous incarnations and was still being used by the military in the 1970s when it was converted into a temporary home for refugees from the newly independent African colonies. Today the Fortaleza houses the municipal museum and a ‘nucleo-resistencia’ containing arefacts from the period during the nineteen fifties when the Fortaleza was used by the dictator Salazar as a prison for political dissidents (15).

The sea is still one of the main points of interest and development, and the beaches at Peniche are much appreciated. While Consolação and Baleal bays provide good shelter for a family day out, the waves on this west coast, such as the Supertubos (tubular Supertube waves) off Medão Grande Beach, are much sought after by surfers and bodyboarders from across the world. It was elected one of “Portugal’s 7 Wonders” in a national tournament.

To-gether with Lagido Beach, it is the setting for the major world surf championship, Rip Curl Pro Portugal, an event that is part of the World Surf League Tour.

The Nature Reserve on the Island of Berlengas is a boat ride away. Its translucent waters are ideal for divers, who will find here a natural sanctuary for sea flora and fauna. The choppy sea and the seclusion of the Island have also prompted many mysterious stories about fishermen and sunken vessels off this coast.

It’s only natural that the sea dominates the local cuisine, so you mustn’t leave Peniche without tasting the bouillabaisse, the seafood rice or the charcoalgrilled sardines, always accompanied by the Western region’s wines. For dessert, we recommend the almond cakes, whether an “Amigo de Peniche” or the biscuits called “Esses” (16).

On e of t h e l a rge s t trad i ti on a l f i sh i n g por ts i n Por tu ga l a n d a ma j or At l a n ti c h u b for ma ri ti me -tou ri s t acti v i ti e s.

Peniche is a coastal town an hour’s drive north of Lisbon and is one of the largest traditional fishing ports in Portugal and a major Atlantic hub for maritime-tourist activities.

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Peniche

Old maps of Peniche

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Peniche in the past

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Peniche nowadays

gentrification

Gentrification is a general term for the arrival of wealthier people in an existing urban district, a related increase in rents and property values, and changes in the district’s character and culture.

The term is often used negatively, suggesting the displacement of poor communities by rich outsiders. Gentrification often increases the economic value of a neighborhood, but the resulting demographic change is frequently a cause of controversy.

Gentrification often shifts a neighborhood’s racial/ ethnic composition and average household income by developing new, more expensive housing, businesses and improved resources. The gentrification process is typically the result of increasing attraction to an area by people with higher incomes spilling over from neighboring cities, towns, or neighborhoods. Further steps are increased investments in a community and the related infrastructure by real estate development businesses, local government, or community activists and resulting economic development, increased attraction of business, and lower crime rates. In addi-tion to these potential benefits, gentrification can lead to population migration and displacement. However, some view the fear of displacement, which is dominating the debate about gentrification, as hindering discussion about genuine progressive approaches to distribute the benefits of urban redevelopment strategies.

In certain respects, a neighborhood that is gentrified can become a “victim of its own success.” The upward spiral of desirability and increasing rents and property values often erodes the very qualities that began attracting new people in the first place.

When success comes to a neighborhood, it does not always come to its established residents, and the displacement of that community is gentrification’s most troubling effect (17).

A n e i gh b orh ood t h a t i s ge n tri f i e d ca n b e come a “v i cti m of i ts own su cce ss�

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How to understand the contemporary struggle in housing and how to protest gentrification. The book also explores the problem of the privatisation of public spaces.

The Coronavirus pandemic has changed all of our worlds, and not just in the short-term. Outside of healthcare—where heroes dressed in gowns are battling on the front lines—few industries have been hit like travel. Entire nations have been ordered to stay at home, airlines have gone bankrupt, travel compa-nies are laying off massive amounts of workers, and hotels are now hospitals. When things do start to return to “normal”, travel, especially international travel, will look very different.

Travel will recover in stages and freedom to travel will vary, not only country-by-county but by region.

In addition, there are multiple factors that will influence travel such as whether social distancing on planes is economically viable for carriers, the reliability of antibody tests, and if immunity is lasting.

Certainly in the short-term, travel will become more defined by purpose. Any business travel will need to be strictly validated as an economic activity, with companies tightening the numbers of employees who travel for them. Countries will likely only open their borders where there is merit and it’s safe to let travelers through. This may mean temporary visas and more documentation that you’ll need to take with you when traveling (18).

travelling post covid-19

Entire nations have been ordered to stay at home, airlines have go ne bankrupt, travel compa nie s are laying off massive a mounts of workers, and hotels are n ow hospitals.

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As all other countries in the world, the Faroe Islands has been affected by the COVID-19 pandemic. Early on in this global crisis, the tourism sector sat and wondered how they could recreate a Faroe Islands’ experience for those who had to cancel or postpone their trip to the Faroe Islands – and for everyone else stuck in insolation around the world.

What if they could allow people anywhere in the world to explore the islands as virtual tourists through the eyes of a local? Or even better; what if the virtual tourists could control the movements of the local in real time? They have created a new remote tourism tool, the first of its kind. Via a mobile, tablet or PC, people can explore the Faroes’ rugged mountains, see close-up its cascading waterfalls and spot the traditional grass-roofed houses by interacting – live – with a local Faroese, who will act as your eyes and body on a virtual exploratory tour. The local is equipped with a live video camera, allowing the remote tourist to not only see views from an on-the-spot perspective, but also to control where and how they explore using a joypad to turn, walk, run or even jump!

Visiting the remote islands through the eyes and body of a local brought joy and inspiration to the people who participated during these challenging times (19).

What if t hey could allow people anywhere in t he world to explore t he islands as vir tual tourists t hrough t he eyes of a local?

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remote tourism

online travelling platform

Anyone from anywhere could remote travel in that way and get the new experiences, exploring new ways of travelling and exploring or just reliving memories. The platform also enables disabled or old people, who can’t travel anymore because of health problems, to explore places and talk with the locals. The platform also offers new approach for travel bloggers and tour guides and possibilities for promoting tourism of the destina-tion.

As a respon se to Cov i d -19 -i s h situations I got an i d e a to cre a te an online trave l l i n g pl a tform where peopl e cou l d ex pe ri e n c e destination s from a ny wh e re t h rou gh t he eyes of a l oca l tou ri st gu i d e .

As a response to Covid-19-ish situations I got an idea to create an online travelling platform where people could experience destinations from anywhere through the eyes of a local tourist guide. You just need an internet connection and device that can stream live video and a comfortable seat to enjoy.

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Airbnb Experience

Google Expeditions

inspiration In 2019 The City of Oslo and Creuna Norway agency did a great job and have developed a new city identity that will make it easier for the municipality to communicate clearly and holistically with its residents.

The municipality operates many types of services and communicates with many different target groups. There are over 250 municipal logos in use. Therefore, it is unclear to many residents what the municipality does. Creuna made the impossible possible – they created one coherent identity for the whole city of Oslo to reduce numbers of logos from 250 to 1. With the solution, all businesses in the Oslo municipality have been gathered under a common identity with a single logo. This makes make the city more coherent, more relevant and easier for citizens to understand everything the municipality does and contributes to. But the challenge was complex because they need to make 250 organizations to give up their own identity and deal with emotional attachment to existing logos among employees.

The new visual identity is unified yet allows for flexibility in communication. Oslo’s municipal enterprises have great flexibility to use the toolbox to create individualized communications solutions. The design system also makes it possible to be formal, informal and dynamic.

The colors and shapes of the identity are taken from Oslo’s cityscape and are also in-spired by the facades of the city’s buildings. New font Oslo Sans was designed and is inspired by many generations of streets signs in Oslo.

The design solution includes a digital design manual and a digital design assistant that the design team created so that all 53,000 of the city’s employees can input information and photos into the online tool and receive an automatically generated consistent design. They combined functionality and usability, because there were lots of design needs but no budget to hire profesional designers. That’s why they created digital assistant where anybody can create their own design without having any design software or skills. With this identity became accesible to everybody and the city of Oslo will save lots of money.

Creuna Norway hopes that the new branding will help the municipality’s successes to be recognized by its citizens – something that has not happened in the past due to the unclear and fragmented visual identity of the city.

This combination of coherence and flexibility with the tools provided allows the design system to be applied universally, and effectively helping the city of Oslo to develop a modern, aesthetic public image (20).

Creun a mad e t h e i mpos s i b l e possib l e – t h ey cre a te d on e cohere n t i d e n ti ty for t h e wh ol e city of Osl o to re d u ce n u mb e rs of logos from 2 50 to 1.

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For the purpose of this publication I created potential examples of place branding and promotion of the destination – Peniche. The following designs focus on attracting tourist to Peniche and with the modern & surf-oriented designs trying to show that Peniche is “The wave capital”. Together with modern approach I also added some traditional Peniche industry such as fishing, warehouses, ports, fortress etc. With that the traditional Peniche jobs could be connected with current economy – surf tourism.

In that way tourists could understand better what Peniche was in the past, but they could also relate to what it is today.

After reading about Peniche and its past, I went on the streets and took pictures of the details, famous and important buildings, colors, shapes, and textures. As Peniche is also known for its natural treasures, I included beaches, marine life, and cliffs as well. I created some visual examples that can be used on the posters, flyers, website or just promo material in digital marketing to promote the destination.

Pe re in

In t hat w understa was in t h also rela

eniche ebrandg

way tourists could and better what Peniche he past, but t hey could te to what it is today.

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current and past branding

potential redesign for touristic promotion

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(20) Unknown. A unifying identity for Oslo. Cre

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June 2020

ESAD.CR, ADG II.

Kaja Bukovec