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Brandism What exactly is Brandism? Brandism is a trend, where architecture and real estate are increasingly linked to the creation of a distinct identity that enhances the perceived value of an urban district, a residential development, or in some cases, an entire city. This perception of architecture as a commodity is largely keyed to the realities of global capitalism, where cities or even nations are trying to position themselves favorably in the worldwide marketplace in order to attract capital. Branding has been a trend for decades, particularly in the fashion industry, but also for consumer goods in general. We know that the influence of a brand goes far beyond the actual product: the brand becomes a symbol for a particular lifestyle, an
The brand is a symbol that conveys an aura of meaning, elevating the status of the consumer as it is recognized by others. In many ways, brands signify perhaps most importantly, a sense of belonging. Whereas the idea of the machine permeated cultural and commercial production during the Industrial Age (often referred to as the Machine Age) and served as a metaphor for efficiency and standardization, the brand has become a symbol for contemporary consumer values associated with the Information Age: customization, differentiation,
attitude, and an identity.
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material or functional sense. Brands synthesize images, identities, and lifestyles into coherent entities, while simultaneously codifying cultural values. Brands can act as catalysts to raise the value and/or status of a particular place, a person, or an event. The very same progression from materiality to ephemerality — from object to subject— can be In the twenty-first century, brand values change ever more rapidly, as we are experiencing a profound transition from highly standardized brands that conveyed the egalitarian values of the baby boomers to the mass-customized brands of a more brand-educated Generation X that embraces a more cynical world view. And from Gen X we progress to Gen Y, those who grew up entirely brand savvy and therefore embrace much subtler local brands. To summarize the effects of branding, brands no longer focus on the product but on the act of building associations with particular lifestyles, contexts, and consumers. Brands give products, services, places, and events an added symbolic value, which elevates them above themselves and makes them more than they are in a
witnessed in architecture. Frank Gehry‘s Guggenheim Museum in Bilbao is no longer first and foremost assessed by its primary function (museum), no longer solely by its capacity to act as a sign for the city (Bilbao), but by its ability to instigate change (economic growth and urban renewal). The building compounds use value, sign exchange value, and transformational value, converting the building into a piece of brand equity. Thus, whereas modern architecture was evaluated by its ability to increase production efficiency and early postmodern architecture by its potential to convey symbolic value, current architecture must be assessed by its economic potential to raise the perceived value of its beneficiary, be it a single client, a corporation, or a city. 4
Put differently, architecture in an experience economy has evolved from an emphasis on ―what it has‖ (the object), and ―what it does‖ (function and program), to ―what you feel‖ and to ―who you are‖
Brandscaping How architects market themselves
(experience and identity), which
Starchitects have long been the
means that the attention is
coveted designers of big new
removed from the object and placed
buildings—the Museum of Modern
on the object‘s effect on the
Art extension, the new Salt Lake
subject. As we have moved from a
City library, and the de Young
one-size-fits-all economy to a
Museum in San Francisco—but in
postfordist mass-customization
recent months, the names of A-list
society, the attention of
designers such as Richard Meier,
architecture has shifted from a
Robert A.M. Stern, and Charles
paradigm characterized by the
Gwathmey have figured prominently
relationship of form, function, and
in advertisements for high-end
program to a paradigm of
residential properties. Daniel
experience and identification
Libeskind, Bernard Tschumi, Frank Gehry, and Herzog & De Meuron, who generally design cultural monuments, are all building luxury condominiums.
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From a developer's point of view, employing a famous architect is not only about adding design value, it's also about adding name recognition. In that sense, starchitects are transforming themselves from individual luminaries to companies bent on extending brand recognition throughout the world. The question, of course, is how much value a big-name architect actually adds to a real-estate project, and how architects became brands in the first place. What makes an architect into a brand? Part of the recognition of a brand depends on what people who Daniel Libeskind
study such things call its
Frederic C. Hamilton Building
"personality." Foster & Partners,
Denver Art Museum
whose Web site lists projects
Denver, Colorado
ranging from a congress hall in
Libeskind‘s design consists of geometric, titanium-clad angles, which reflect the nearby Rocky Mountain peaks and rock
Kazakhstan to the Elephant House of the Copenhagen Zoo, is an
crystals.
international brand with a definite
The expansion, the museum‘s first major
personality: Technical Solutions to
addition since the North Building was
Difficult Problems. Foster's chief
completed 35 years ago, nearly doubles its
rival is the Renzo Piano Building
facilities.
Workshop. The Piano brand, which conveys a sense of bespoke elegance, has been affixed to museums, airports, and office towers. It's more like Stylish Solutions to Any Problem.
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Interestingly, neither Foster nor Piano has a house style; their designs vary considerably from project to project. This goes against the traditional notion that the work of celebrated architects should be individual and identifiable. But style can be a trap, as Richard Meier, with his persistent white walls and expanses of glass, found at the Getty Center, which seems to me like too much of a good thing. Michael Graves' Tuscan colors and simplified Classical forms likewise sometimes appear constraining. When I mentioned to a friend that Graves had recently built a building in Philadelphia, she said, "I didn't know that it was a Blue, a residential tower by
real Graves; I thought it was a
architect Bernard Tschumi, has opened on
knockoff." Even Frank Gehry, who
New York‘s Lower East Side.Bernard
has perhaps the strongest
Tschumi Architects design buildings, bridges, and plazas that blur the boundaries between art, society, symbol,
architectural franchise in the world today—and recently designed a line
and function. They are responsible for
of jewelry for Tiffany & Co.—
some of the most staggeringly original and
sometimes seems hemmed in by his
unforgettable — and sometimes
own success, as he builds yet
controversial — edifices and public projects, both built and imagined, in the modern world.
another whimsical tour de force. The Tiffany necklace, by the way, looks like a very long key chain. There are other sorts of architectural brands. Rem Koolhaas, who seems to have a love-hate relationship with his own celebrity, has shrewdly managed his OMA 7
(Office of Metropolitan
traditionalism, Santiago Calatrava's
Architecture), turning it from a
bravura—can serve to stymie the
one-man studio into a brand. He
natural artistic evolution of a
has established a company ethos—
designer's style. Give the public
one cannot really call it a style—in
what it likes and it simply wants
independent offices in Rotterdam,
more of the same. Remember New
New York, and Beijing that have
Coke? And that's not good for
produced a variety of work, from a
architects who want to explore
big-box convention center in
rather than merely produce.
Córdoba, Spain, to the crystalline Seattle Public Library and a dramatic nonskyscraper skyscraper in Beijing. The OMA ethos has a lot to do with cutting-edge problemsolving, which is perhaps why luxury condos are so far absent from the firm's portfolio. There is nothing wrong with architects being given the opportunity to branch out—the great Vienna Secession architect Josef Hoffmann created some very beautiful jewelry—and greater public awareness of design is a good thing, but branding may turn out to have adverse effects. Most architectural careers are marked by a deliberate evolution—a slow simmer rather than a fast boil. The drive to establish their own unique brands pushes young architects to
Pritzker Pavilion at Millennium Park designed by Frank Gehry. Completed in July 2004, the pavilion is an open stage which seats upwards of 11,000 people in a mixture of fixed seats and the lawn as well as accomodate a full orcherstra on stage.
distinguish themselves early—too early. Moreover, public recognition of an architect's particular approach— Meier's minimalism, Stern's 8
From Traditional Cultural Landscapes to “Label Regions”
regional as well as sectoral policies, thus shaping traditional landscapes into ―brandscapes.‖
Sustainable regional development is a long-term goal for Alpine landscapes and habitats in Switzerland. Areas of high ecological quality and sufficient socio-cultural potential, but insufficient economic power, are looking for long-term perspectives. The economic options of structurally weak peripheral regions could be improved significantly through ―brandscaping,‖ ie a certification strategy for Label Regions focusing on sustainability, thereby ―producing‖ new types of
The city of Buchs, Switzerland, sees itself as a competitive business location. It can be characterized as an ―intensely used urban type‖ of region
landscapes. An adequate implementation strategy should be based on a reliable indicator system, which should finally lead to certification procedures for regional management. But the implementation of Label Regions (with certification) is only feasible under an innovative development scenario in which the socioeconomic and political environment facilitates such strategies. Labeling intends to offer regional producers an
Parts of the Piemonte, Italy suffer from ageing population, agricultural decline, etc. These regions can be described as ―declining types.‖
advantage in the nature-based tourism market as well as for other quality products and services, and must be effectively promoted by 9
a label for the state and the market
label, mutually reinforcing each other. In conclusion, we realize that the perspectives of structurally weak
Because the Label Region shows
peripheral regions could be improved
self-commitment throughout the
by a certification strategy for Label
certification process, it should
Regions with a broad, goal-oriented
receive preferential access to
and sustainable Swiss mountain area
financial resources—within both
policy, provided consistent
regional policy schemes and other
marketing of the label is achieved
sectoral policies (such as
and combined with successful
agriculture)—and to private flows
product brands.
of money. This, then, is the overarching goal of the strategy. At the same time the label is also intended to provide advantages in the market. This can apply to sustainable tourism, the marketing of regional, organic food, and specific local industries such as food processing, solar technology, and ecological construction or services in the health and social sectors (adolescents, wellness and
Hasle in the Entlebuch UNESCO Biosphere Reserve, Switzerland. The region gives priority to conservation of natural and
regeneration tourism for the
cultural landscapes and stimulates the local
stressed generation, a rapidly
economy by involving the population.
growing market serving elderly people). The quality mark ‗Label
(Photo courtesy of Entlebuch UNESCO Biosphere Reserve)
Region‘ may not always be marketeffective by itself, but may support existing or newly created local products. In this manner, the product brands of single producers will be combined with the generic 10
However, the certification of a
BRAND BUILDING
mountain area as a Label Region will not automatically guarantee thriving and sustainable development. Regions will also depend on potentials in human resources, such as innovation and entrepreneurship with strong product brands. The same is true for market success: Only if the consumers of these products realize the additional value of the new label will they agree to pay an adequate price. In this way, added value can be created out of valuation. For this reason, the Alpine landscape will be re-
Quality
characterized, or even reinvented.
Quality is a vital ingredient of a
We call this process ―brandscaping,‖ referring to regional and landscape development as a result of the combined value of sustainabilityoriented transfer payments and certified high-quality branded products.
good brand. Remember the ―core benefits‖ – the things consumers expect. These must be delivered well,
consistently.
The
branded
washing machine that leaks, or the training shoe that often falls apart when wet will never develop brand equity. Research
confirms
that,
statistically, higher quality brands achieve a higher market share and higher
profitability
that
their
inferior competitors. 11
Positioning
Communications
Positioning is about the position a
Communications also play a key role
brand occupies in a market in the
in building a successful brand. We
minds of consumers. Strong brands
suggested that brand positioning is
have a clear, often unique position
essentially
in the target market.
perceptions – with the objective to
Positioning can be achieved through several name,
means, image,
including
customer
build a clearly defined position in the minds of the target audience.
standards,
All elements of the promotional
product guarantees, packaging and
mix need to be used to develop and
the way in which it is delivered. In
sustain
fact, successful positioning usually
Initially, the challenge is to build
requires
awareness,
a
service
brand
about
combination
of
these
things.
customer then
perceptions.
to
develop
the
brand personality and reinforce the perception.
Repositioning Repositioning occurs when a brand
First-mover advantage
tries to change its market position
Business
to reflect a change in consumer‘s
about
tastes. This is often required when
terms of brand development, by
a brand has become tired, perhaps
―first-mover‖ they mean that it is
because
possible
its
original
market
has
matured or has gone into decline.
from
a
sweet
drink
first-mover
for
the
often
talk
advantage.
first
In
successful
brand in a market to create a clear
The repositioning of the Lucozade brand
strategists
for
children to a leading sports drink is one example. Another would be the
positioning in the minds of target customers before the competition enters the market. There is plenty of evidence to support this.
changing styles of entertainers with
Think
above-average
product brands like Gillette, Coca
longevity
such
Kylie Minogue and Cliff Richard.
as
of
some
leading
consumer
Cola and Sellotape that, in many ways,
defined
the
markets
they
operate in and continue to lead. 12
However, being first into a market
business
does not necessarily guarantee long-
brand values and positioning. This is
term success. Competitors – drawn
particularly
to
profit
businesses where a critical part of
the
the brand value is the type and
―market-mover‖ – will enter the
quality of service that a customer
market and copy the best elements
receives.
the
high
potential
of
growth
and
demonstrated
the
leader‘s
brand
by
(a
good
example is the way that Body Shop developed
the
―ethical‖
personal
care market but were soon facing stiff competition from the major high street cosmetics retailers.
should
understand
important
in
the
service
Think of the brands that you value in the restaurant, hotel and retail sectors.
It
is
likely
that
your
favourite brands invest heavily in staff training so that the face-toface contact that you have with the brand helps secure your loyalty.
Long-term perspective This leads onto another important factor in brand-building: the need to invest in the brand over the long-term.
Building
awareness, brand‘s
customer
communicating message
and
the
creating
customer loyalty takes time. This means
that
management
must
―invest‖ in a brand, perhaps at the expense of short-term profitability.
It is one of the biggest consumer electronics and Software Company, best known for products like Macintosh, iPod and iphone. Steve Jobs, Steve Wozniak, and Ronald Wayne had together setup Apple in 1976, to sell their hand-built computer Apple I. They had offered their product to HP first but were declined by them.
Internal marketing Finally, management should ensure that
the
brand
is
marketed
―internally‖ as well as externally. By this we mean that the whole 13
Guerrilla Marketing The concept of guerrilla marketing was invented as an unconventional system of promitions that relies on time, energy and imagination rather than a big marketing budget.
Typically, guerrilla marketing campaigns are unexpected and unconventional, potentially interactive, and consumers are targeted in unexpected places. The tactics often rely on methods that are of poor taste or include 14
littering/graffiti and businesses or
for us to consider forming our own
causes using guerrilla marketing
Guerrilla United Nations.
should consider whether or not this is the way they want their cause viewed. Guerrilla marketing involves unusual approaches such as intercept encounters in public places, street giveaways of products, PR stunts, or any unconventional marketing intended to get maximum results from minimal resources. More innovative approaches to Guerrilla marketing now utilize cutting edge mobile digital technologies to engage the consumer and create a memorable brand experience. Guerrilla Marketing started out a single volume and has since acted biblically by being fruitful and multiplying into a library of 35 books and counting, an Association,
The need for guerrilla marketing can be seen in the light of three facts: 1. Because of big business downsizing,
a lush website, an abundance of
decentralization, relaxation of
video and audio versions, an email
government regulations, affordable
newsletter, a consulting organization, an internationallysyndicated column for newspapers, magazines, and the Internet, and presentations in enough countries
technology, and a revolution in consciousness, people around the world are gravitating to small business in record numbers. 2. Small business failures are also establishing record numbers and one of the main reasons for the 15
failures is a failure to understand marketing.
3. Guerrilla marketing has been proven in action to work for small businesses around the world. It works because it's simple to understand, easy to implement and outrageously inexpensive. Guerrilla marketing is needed because it gives small businesses a delightfully unfair advantage: certainty in an uncertain world, economy in a high-priced world, simplicity in a complicated world, marketing awareness in a clueless world.
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URBAN CENTER
STREET, BLOCK AND ACCESS PATTERNS
GENERAL CHARACTER The Urban Center Neighborhood Context consists of multi-unit residential and mixed-use commercial strips and commercial centers. Multi-unit buildings are typically Rowhouse, Courtyard Apartment and Apartment forms. Commercial buildings are typically Live-Work, Shopfront, and General Commercial forms. Multi-unit
The Urban Center Neighborhood
residential uses are primarily located
Context consists of a regular
along residential collector, mixed-use
pattern of block shapes surrounded
arterial, and local streets.
by an orthogonal street grid.
Commercial uses are primarily
Orthogonal streets provide a regular
located along main and mixed-use
pattern of pedestrian and vehicular
arterial streets.
connections through this context and there is a consistent presence of alleys. Block sizes and shapes are consistent and include detached sidewalks, tree lawns, street and surface parking, and landscaping in the front setback
17
BUILDING PLACEMENT AND LOCATION
areas transitioning to a less dense urban neighborhood.
MOBILITY
All building typically have consistent orientation and shallow front setbacks with parking at the rear and/or side of the building.
BUILDING HEIGHT
There are high levels of pedestrian and bicycle use with the greatest access to multi-modal transportation system. The Urban Center Neighborhood Context is characterized by moderate to high building heights to promote a dense urban character. Lower scale structures are typically found in
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DIGITAL WATER PAVILION EXPOAQUA ZARAGOZA 2008 The DWP project It has been designed and built for the Expo Zaragoza 2008, which features the theme of water. During the Expo, it will contain a tourist office and an information point for the Digital Mile project. If the Pavilion is not for living in, it can certainly be considered a machine. It contains over three thousand digitally-operated solenoid valves, twelve hydraulic pistons, several dozen oil and water pumps, a camera-operated control system, a good deal of controlling software, and many other components. The Pavilion is down, in closed
operational mode. The roof is on the ground, covered by a thin layer of water. Only two volumes in glass, containing the Digital Mile info point and the tourist office, project upwards. It is a new medium, and a rather exceptional one. It is made of thousands of closely spaced solenoid valves put in a row along a pipe suspended in the air. The valves can be opened and closed, at high frequency, via computerized controls. This produces a curtain of falling water with gaps at specified points - a pattern of pixels created from air and water instead of illuminated points on a screen. The entire surface becomes a onebit-deep digital display continuously scrolling downwards. Something like 20
an inkjet printer on a huge scale. So, how to make really fluid, reconfigurable architecture? Our building aims to stand as a possible answer to that endeavor. Fluid in the literal sense of the word. But also fluid as a reconfigurable, responsive building.
The difference between wall and door can disappear. Facades can become a continuous medium that open and close interactively. The water itself is dynamic: it can display graphics, patterns and text. But, most importantly, it can almost become alive with patterns that are generated in real time, replicated from one point to
another and which respond to the nearby environment. The presence of people can be sensed by the DWP and this plays an important role in the dynamic process, allowing waves and other distortions to be generated.
Concept As a pedestrian approaches, for example, a water wall might open like the Red Sea for Moses, and then close again after the pedestrian has passed through. Or a circular opening might drop down to
meet a ball thrown at the water wall – allowing it to pass through without getting wet. These sorts of possibilities enable a profound rethinking of our conceptions of door openings and entries, and of windows and fenestration patterns. There are many other possibilities, as well. As a pedestrian walks alongside a water wall (or between parallel water walls) a panel of
water might accompany her to provide privacy and cooling. As natural lighting conditions and views change, water walls might adjust in response. And, when the wind blows too strongly for comfort, a water wall might automatically shut down. 21
Many variants on patterns with
it can have a rhythm – perhaps,
wallpaper symmetry can be
though not necessarily, laying down
produced by scaling or otherwise
a regular beat. There are both
parametrically varying the repeating
diachronic and synchronic
figures at each iteration in the
relationships among graphic motifs –
vertical direction. This produces the
just as there are such relationships
effect of a pattern continuously
among musical figures.
changing as it scrolls down. Yet
Diachronic graphic structures,
another possibility is to use a
analogous to those constructing
random number generator to select
musical melody, result from shape
the coordinates, scale coefficients,
and spatial relationships among
and other parameter values for
graphic motifs that follow each
instances of a motif. This produces
other in time. Synchronic
the effect of endless variation. It
structures, analogous to those
can be extended by introducing, as
creating musical harmony, result
well, random selection from a
from shape and spatial relationships
specified vocabulary of motifs –
among motifs that are
much like random selection of
simultaneously visible on the water wall surface. Just as music may
tracks on an iPod. Like a piece of
have words, water wall programs
music being performed, a water wall
may incorporate text and figurative
program unfolds over time. Through
imagery.The true task of water wall
repetition in the vertical dimension
programmers is to explore the 22
possibilities of a genuinely new, time-based, graphic and spatial medium. Water walls are best used at human scale, in locations where they can engage and direct pedestrian motion. They should not be treated merely as spectacle, but as largescale interactive devices.
Moveable roof Moveable roof The steel roof is elevated on a system of 12 hydraulic pistons. However, for most criteria it can be designed as
significantly reduced. Overall, the foundation behaves as a rigid ―matchbox‖ structure.Horizontal
a static structure. The speed of elevation is
small enough that inertial forces
displacement under wind loads. The
could be neglected. However, some
two boxes have to provide
additional stiffness requirements
sufficient strength and stiffness to
had to be accounted for in order to
act as guides for the elevating roof
guarantee a uniform movement of
structure.
the pistons.Figure shows vertical settlement estimated in the finiteelement model. Due to the added stiffening of the walls primarily in the longitudinal direction, differential settlement was 23
The digital water cycle The cycle of digital water is composed of three steps: 1) delivering water to the nozzles, 2) displaying or releasing the drops of water, and 3) draining, collecting and recycling the water. Each step of the cycle is highly specialized and thus requires distinct and varied technological solutions and materials. Nevertheless, a guiding tenet of the design process for the DWP was to mask rather than reveal such complexity. a) Delivering water The water cycle begins in the basement of the pavilion. Two underground cisterns collect and cleanse the water that flows down continuously from the water walls. Next, the water is pumped from glazed box that moves up and down in sync with the pavilion‘s roof.
The box contains eight pipes, carefully placed so that they do not interfere with the structural I beams of the pavilion. The pipes terminate at the edge of the roof, where t hey meet the digitallycontrolled water nozzles. b) Displaying water The nozzle is the basic design unit in the second step of the digital water cycle: display. Each nozzle releases drops of water by controlling the appropriate timing and speed needed to produce a particular graphic from the aggregate of falling drops of water. The number of nozzles per meter determine the system‘s horizontal resolution. The DWP features 25 nozzles per meter, totaling 2500 nozzles along its 100 m perimeter.
24
very quickly and effortlessly. hence the drainage system turns out to be one of the most intrusive systems in the pavilion: it shapes The vertical resolution of the water
the entirety of the ground floor,
wall is determined by the number
has implications for part of the
of times the valve opens and closes
basement, and greatly influences
within a particular period of time.
the overall structure. Because every
If the valve opens and closes with
surface of the DWP could be wet
greater frequency, then the
at any given moment, slipperiness
graphics displayed by the water wall
was another concern. Many
will fall with a greater resolution.
different draining materials were
It is much like an inkjet printer
studied: electrowelded galvanized
that produces a print of higher
steel mesh, composite honeycomb
quality, or resolution, by printing a
mesh, draining amorphous sponges,
greater number of dots per inch. c)
and allusion, an aluminum sponge-
Draining, collecting and recycling
like material with holes of different
water When the drops of water
sizes, among others. The
reach the ground, they must land
architectural effect is that of a
on a surface material that drains
fractal texture that repeats at
down to the underground cisterns.
different scales of filled and un-
A lot of water has to be collected
filled tiles.
25
Nature Boardwalk, Education Pavilion and South Pond Transformation at Lincoln Park Zoo The project transforms a oncepolluted and neglected urban pond
The education pavilion is an outdoor
into a native wildlife refuge,
classroom and meeting place. Its
boardwalk, and education pavilion.
column-free shell structure is made
Deepening the pond improves its
of bent wood elements and clad
oxygen content and reduces urban
with fiberglass "pods."
flooding by increasing its stormwater storage capacity. The pond's planted edge provides biofiltration of the site's stormwater run-off. Visitors discover a series of educational zones along a boardwalk loop made from recycled plastic. The improved habitat attracts wildlife, allowing people to experience animals in what is essentially a zoo without cages.
Integrated into the boardwalk sequence, the pavilion is sited to frame the pond and skyline beyond. Double-curved, micro-laminated beams reveal the wood's inherent pliability and structural integrity. Both prefabricated wood elements and fiberglass pods are light enough to be lifted by a single person, reducing construction time and cost. In addition to hosting educational activities, the structure creates engaging public space that has been adopted for a variety of community uses. Simultaneously 26
Beautiful Times Eureka Pavilion Mimics the Structure of a Leaf
urban and ecological, the project is a model for future public spaces in cities.
The astonishing Times Eureka Pavilion at the Chelsea Flower Show takes us deep into the
Nature Boardwalk and Education
structure of a leaf with
Pavilion Architect: Studio Gang
its biomimetic design. The newly
Architects
completed pavilion is set amidst a
South Pond Transformation Master
bounty of flowing plants, and it
Plan Architect: Shaw Sustainable Solutions of Illinois, LLC Project Program Manager and
takes structural cues from the intricate growing patterns of
Project Coordinating Engineer: Shaw
leaves. Marcus Barnett Landscape
Environmental & Infrastructure Inc.
Architects created the ―veins‖ out
Landscape Architect: WRD
of sustainably harvested spruce and
Environmental
inserted plastic ―cells‖ into the pavilion to bring visitors into the foliage to experience the textural composition of plants. Read on for a closer look at this stunning project!
27
Working in conjunction with NEX
Plastic strips are coiled into round
Architecture, Barnett took a deeply
forms, abstracting the internal
scientific approach to the project.
cells. The plastic elements diffuse
Using computer algorithms that mimic the growth of plants, the team came up with a structure based on modular cells.
daylight as it enters the pavilion, giving the interior space a sense of intimacy.
Like the old ride at Disneyland Adventure Through Inner Space where you shrunk in scale to see the world of the very small the Times Eureka Pavilion takes us deep into the structure of a leaf.
The roof is covered in glass and rainwater is channeled through the pavilion's "veins" and diffused directly into the ground. The installation will be moved from its Smaller wooded cells or cassettes
temporary home to the Royal
are inserted into the spaces,
Botani Gardens at Kew.
mimicking the Epidermal cellular structure of a leaf.
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29
The Ponte Vecchio - the only bridge left standing by the retreating German army as Florence is taken by the 8th Army in August 1944.
During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat of August 4, 1944, unlike all other bridges in Florence. This was allegedly because of an express order by Hitler. Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design. 30
Ponte Vecchio Symbol Of The
ART NATURE and PEACE 31
Solar Peace pavilion
The peace sign stands 58 feet high and isn't just a pretty face It's actually a sustainable resource that will be able to feed power
Far out! This giant solar peace
(collected from its 80 solar panels)
sign made of 80 metal oil barrels is
into the city's electrical grid.
bringing eco art to a groovy new level. Artist Fred George designed the sculpture to "sound a global
According to the artist, the loadbearing construction of the
alarm of our crisis of consumption"
sculpture consists of a circle made
and call attention to our need
of steel with one vertical middle
for greener energy. In keeping with
beam and two diagonals beams
that message, each barrel that
running at approximately 45
makes up the structure also has a solar panel attached to it. If all goes according to plan, the peace sign will be constructed in Madison
degrees to the main diameter.At a time when we have never been more dependent on oil for our daily
Square Park in New York City, and
transport, this donation
other similar artpieces will appear
of energy delivers a message of
in Shanghai, China and Saarbr端cken,
environmental responsibility and
Germany.
social pride," Fred George explains. 32
Primary Sketches
33