Cultural Capital: how can Azerbaijan develop a sustainable economy without the reliance on oil

CULTURAL CAPITAL

CULTURAL CAPITAL How can Azerbaijan develop a sustainable economy without the reliance on oil?

A research and implementation project by Sayuri Standing 1

2

CULTURAL CAPITAL

CULTURAL CAPITAL How can Azerbaijan develop a sustainable economy without the reliance on oil?

Sayuri Standing N0442132 Module Title: Self-Devised Project Stage Two Module Leader: Sarah Lewington Module Code: FASH30002

3

CONTENTS

4

CULTURAL CAPITAL

PAGE 6

PREFACE

8

INTRODUCTION

12 22 26 36

ONE: CONTEXT TWO: ALL THAT GLITTERS ISN’T GOLD, IT’S BLACK THREE: ART IN AZERBAIJAN FOUR: THE DISCERNING DRIFTER

42

FIVE: THE BIG IDEA

44 46 52 53 54 56 58

CREATIVE CONCEPT SIX: ONLINE INSPIRATION SEVEN: CONSUMER THE OCCUPATIONAL TRAILBLAZER THE DISCERNING DRIFTER THE BUCKET-LIST EXCURSIONIST EIGHT: PRINT INSPIRATION

60 62 74 84 86

NINE: EXECUTION - RE-PACKAGING THE PACKAGE HOLIDAY HOW IT WORKS INTEGRATED MARKETING STRATEGY DESIGN FUTURE GROWTH

88

CONCLUSION

90 92 94 96

WORD COUNT LIST OF REFERENCES BIBLIOGRAPHY LIST OF ILLUSTRATIONS

20 50 70

CASE STUDY A: BARCELONA CASE STUDY B: NORWAY CASE STUDY C: HOW ARCHITECTURE CAN IMPROVE COMMUNITIES

5

PREFACE

6

CULTURAL CAPITAL

T

he topic of this report was inspired by two insightful conversations I was fortunate to have been involved in: The first was held in an East London studio between staff at architectural agency Tomorrow PR, who were discussing their upcoming press trip to the capital city Baku.

The second was with a DJ performing at Croatia’s Barrakud Festival, who was also planning a trip there but to compete in Red Bull’s Thre3style DJing championships. This was the first time I had ever heard Azerbaijan or its capital Baku being mentioned in a context outside of the annual Eurovision song contest, especially in relation to two such divergent fields. When I heard it mentioned the second time, I immediately detected a sense of phenomenon and it fuelled my need to delve deeper. Through initial research, it appeared that Baku was a vibrant, modern hub on the precipice of emergence. Beautiful images of the city’s skyline sparked my personal interest in emerging nations and foreign cultures, whilst stimulating my desire to explore this relatively unknown hub of creative energy.

This report invites you on a vicarious journey to decipher the enigmatic force that is fuelling the rise of Azerbaijan.

7

Fig.1: Heydar Aliyev International 8 (Standing, 2015).

Airport

CULTURAL CAPITAL

INTRODUCTION

9

R

ight at the furthest Eastern point of Europe, just before the transition into Asia, lies a little-known hub of cultural energy on the cusp of international emergence. Pithers has described it as “the Dubai of the Caspian region” (Telegraph Online, 2011: online), whilst De Pury predicts it “will soon rival New York, Berlin, and Tokyo as a cultural epicenter of the world” (Interview, N.D.: online). The once impoverished, former Soviet city now boasts an avantgarde airport (pictured previous page, fig x); a luxury mall; several designer boutiques; a series of 5-star hotels, alongside a number of award-winning, architectural structures.

Since Azerbaijan’s independence from the USSR in 1991, it has gained full control of its natural oil reserves to transform its capital Baku into “a very modern city… full of potential” (Appendix 10b, 48).

Despite glittering appearances, what actually lies beneath are a series of empty shops, bars, museums and restaurants that receive little to no trade that “aren’t really meant to be viable business concerns” (New York Times, 2012: online). Baku is on an aggressive mission to raise its international profile quickly and are lavishly “using Dubai as a benchmark” to model its development on (Appendix 10d, 52). However, whilst “many Azeris remain terribly poor” (New York Times, 2012: online) with the average salary in the capital equivalent to £317.19 a month (Appendix 17a, 84), the rapid gentrification does not parallel the actual wealth of the people.

This report will evaluate how Azerbaijan can avoid becoming a victim to the ‘resource curse,’ using theories by Svetlana Tsalik, director at Caspian Revenue Watch and author of Caspian oil windfalls: who will benefit. Through a broad exploration of the country’s history, traditions and culture, an alternative industry outside of oil will be chosen that has the potential to increase overall trade in the city. Ultimately, a strategy to develop and market that sector will be proposed, which will implement a more sustainable model to prolong the country’s progressive - but currently unreliable - economy.

10

CULTURAL CAPITAL

11

1.CONTEXT

12

CULTURAL CAPITAL

Fig.2: The Crystal Hall where Eurovision 13 2012 was held (Standing, 2015).

Fig.3: Cocoons in the departure lounge of Heydar Aliyev International Airport designed by Autoban (Standing, 2015).

Fig.4: The interior design of Heydar Aliyev International Airport upon arrival designed by Autoban (Standing, 2015).

14

CULTURAL CAPITAL

M

any of Baku’s most notable developments were built within the past five years.

This includes the award-winning Heydar Aliyev International Airport designed by Turkish interior designers Autoban, and the award-winning cultural centre of the same name designed by British architect Zaha Hadid. The Flame Towers, a trio of three wavy towers designed by global architectural firm HOK, are also iconic figures on Baku’s skyline and are another symbolic emblem of Baku’s newfound modernity.

These, alongside a series of

other avant-garde structures, have consolidated Baku into a bountiful world capital. Each office, hotel and mall has been designed as a conspicuous statement of wealth. The designs themselves, typically glossy and curvaceous in its forms, simultaneously signal Baku’s departure from its bleak socialist past.

The gentrification efforts have started to garner attention from press and investors alike. No doubt, this is all good preparation leading up to their most ambitious projects to date. In the summer of 2015, Baku will find itself in the international spotlight as it hosts the inaugural European Games, which looks to be a smaller yet significant leg of the Olympics that will shape the

sporting calendar for the forthcoming future. A report in the Guardian allegedly states that, “the operational budget is more than £400m and estimates have put the infrastructure spend at £6.5bn.” However, this is all seemingly necessary spending for Baku’s biggest tourism opportunity to date. Azad Rahimov, Azerbaijan’s minister for youth and sport, is quoted within the same article explaining the significance of the games: “The main important thing is to position our country on the map of the world and our country on the map of Europe. The best instrument to do that is sport and culture. Sport has a bigger potential for reaching the most people” (Guardian, 2014b: online).

“The designs themselves, typically glossy and curvaceous in its forms, simultaneously signal Baku’s departure from its bleak socialist past”

Fig.5: Banners for the European Games at baggage claim of Heydar Aliyev International Airport (Standing, 2015).

15

O

f course, Rahimov has a valid point. The Olympic games can leave a positive afterglow on the countries that host them.

One of the most successful case studies is Barcelona who hosted the Olympics in 1992. Like Baku, they channeled heavy investment towards restructuring the city in preparation for the games, which ultimately paid itself off by creating 20,000 permanent new jobs and dramatically increasing tourism in the process. Baku has every potential to reap the same benefits as Barcelona has (Case Study A, 22) and already there are positive signs. Despite hotel occupancy at 45 percent in 2010 (New York Times, 2012: online), hotels - such as the Fairmont – are already fully booked over the European Games. They will be welcoming a more divergent range of leisure tourists from across Europe. The Fairmont’s current guests are typically from the neighbouring regions of Russia, Turkey and Iran who travel in for business (Appendix 17a, 84).

16

CULTURAL CAPITAL

On the other hand, the Olympics have also majorly devastated its hosts, even to its “spiritual home” in Athens, who held the event in 2004. Now, Greece is in major debt and “taxpayers are still footing the bill” to cover the initial spending years later. This was a result of misguided spending on unsustainable projects, in which the failure to implement a “post-Olympics development” plan was responsible for (The Independent, 2008: online).

Baku need to take extra precaution however, as they had experienced a similar “public-relations disaster” only a few years ago in hosting the Eurovision song contest in 2012. This was less a result of misguided spending and more a result of “Western news media persisted in peeking where they weren’t supposed to.”

“Baku’s big moment on the world media stage” backfired as the international press sought the opportunity to uncover widespread allegations of active corruption in the country (New York Times, 2012:

online). Forced evictions of residential properties were decreed in order to build the Crystal Hall but that is no singular case, nor is it a surprise occurrence in Baku (Appendix 11b, 62). Governmental corruption is discreet yet rife throughout the country. Transparency International ranked Azerbaijan at 126 out of 174 countries, with a meagre 29 points, in their Corruption Perceptions Index (2014). Locals and expats alike refuse to speak about it. Bakunian artist Sitara Ibramihova makes a point that the silence in itself speaks volumes about the situation at hand (Appendix 11b, 61).

If Baku wishes to establish long-term success out of the European Games, the government will need to clean up their act. Unfortunately, a dictatorship cannot be changed into a democracy overnight.

It can instead, channel the current redevelopment of the city so that it will permanently improve the quality of life for its citizens. Just as Barcelona had restructured its roads and created green spaces, it also improved local businesses such as hotels, which created jobs and

17

Fig.6: A specially-designed clock in central Baku counts down until the inaugural European Games (Standing, 2015).

Fig.7: The Flame Towers designed by HOK (Standing, 2015).

CULTURAL CAPITAL

“People have to feel proud about their country and then after that they can build some new country”

perpetuated tourism (Brunet, 2002).

So far, Baku’s current developments – such as the Flame Towers – have received mixed responses from locals.

On one hand, they are not fond of the design and believe it doesn’t fit into the landscape. However, new businesses have created jobs and the iconic structures have given the residents a reason to be proud of their country. Local artist Faig Ahmed expressed that whilst he isn’t particularly fond of the designs, he claimed they have done the city more good than bad, as Baku was riddled with crime and unemployment shortly after independence. Ahmed states that the current redevelopment is an important stepping stone towards long-term improvement, “because people have to feel proud about their country and then after that they can build some new country” (Appendix 11a, 58).

The numbers don’t lie. Azerbaijan is currently ranked at 76 out of 195 countries in the United Nations’ Human Development Index, where it is categorised under the second tier of countries listed to have “high human development.” Previously it didn’t qualify for a ranking between 1980-1999, so the figures are a commendable marker of the rapid increase of “richness of human life” post-independence (United Nations Development Programme, 2013: online).

However, Baku’s current developments tend to be hollow and unsustainable.

Rather literally, the state has been known to erect clean facades outside of rundown residential areas instead of improving them wholly instead. A local claims that “in the morning, she opens her window, leans out, and opens her other window” (New York Times, 2012: online). This theme of unsustainability also applies to the other new businesses recently opened, such as the string of 5-star hotels with low occupancy and luxury boutiques with no shoppers.

Although, the likes of upmarket mall Port Baku have introduced jobs, they receive significantly little trade due to the strain of poverty across the country (Appendix 17a, 83).

19

a.CASE STUDY BARCELONA

O

ne of the biggest success stories for establishing the most positive Olympic legacy has to be awarded to the Catalonian capital of Barcelona. In preparation for the games in 1992, it spent approximately $11.4 billion in restructuring the city. This included renovation of the roads and new sewage systems, green areas and the creation of a two mile-long beach. Although it went 400% over its budget, the development resulted in 20,000 permanent new jobs, thus decreasing unemployment by nearly half since its all-time high in 1986.

Post-Olympic trade was maintained long after the event, as the games changed foreign perception of Barcelona for the better thus increasing tourism. From 1990 to 2001, it climbed from 11th ‘best city’ in Europe to the 6th. The International Olympic Committee produced a report documenting that twenty years after the event, Barcelona was ranked the 12th most popular city destination in the world for tourists and 5th amongst Europe (Business Insider, 2012: online).

Fira News also counted cultural factors as major contributors to the overall appeal of brand Barcelona. Profiles of corporate businesses based in Barcelona are key drivers in raising the city’s hard power but is significantly supported by the city’s creative assets, which make up its soft power. The city council publishes Barcelovers - a free magazine

with all the aesthetic credentials of an independent publication to promote those very assets. However, these are embodied mainly within museums, universities, cultural centres and, most notably, their artistic history and architecture. In Barcelona’s case, “the profile provided by [late architect Antoni] Gaudí and the Sagrada Familia” has helped boost the overall brand (2013: online). To this day, Barcelona receives an exceedingly high volume of visitors, especially in the summer seasons. They are mostly found accruing the hour-long queues that wrap around the Gaudí attractions including Casa Milà and Casa Batlló (Appendix 17b, 89) Barcelona is exemplary of how a welldesigned city can improve living standards that naturally leads to financial prosperity.

It features on numerous lists marking it as one of the world’s most progressive cities. It was also notably featured on Forbes’ ‘world’s happiest cities’ list in 2009 (Futureplaces, 2011). Toderian explains that “for Barcelona’s architects, city-building is as much about the public realm, of “civitas” or the public life well lived, as it is about buildings… Barcelona’s holistic approach is something we should all aspire to.” The city’s infrastructure is essentially built accordingly to public needs.

As a generally mid-rise city it is careful not to “let a starchitect or flashy design dazzle [them] into putting tall buildings in the wrong places” (CityLab, 2012: online).

“The profile provided by Gaudí and the Sagrada Familia has helped boost the overall brand” 20

CULTURAL CAPITAL

Fig.8: The cover of Barcelovers Issue Two (Standing, 2015).

21

2 .ALL THAT GLITTERS ISN’T GOLD, IT’S BLACK

22

CULTURAL CAPITAL

T

o date, Baku has carried out “some of the most audacious and bizarre building projects currently being undertaken anywhere in the world,” according to Mueller (Monocle, 2010: online).

Joseph Stiglitz, professor of economics and finance at Columbia University, explains in Tsalik’s Caspian oil windfalls the reasons why governments of resourcerich nations tend to spend recklessly on lavish projects: “The most fundamental problems that many resource-rich nations face are political… Leaders undertake costly investments to buy political support through job creation with contracts often awarded to well-connected insiders.

Because rent seeking and state subsidies direct investment to unviable projects incapable of attracting private financing, many of these extravagant projects fail to lessen the country’s dependence on natural resource development” (2003, p.xi).

Following independence, Azerbaijan

struggled to adapt and suffered economically in the process. According to Fuller, “regardless of whether the process of economic decline can be reversed in the near future, Azerbaijan will remain desperate for foreign investment” (Fuller in Allison, 1996: 141).

Their most ambitious project to date is due for completion between 2020 and 2025.

41 man-made islands situated 23km from central Baku will house one million people and feature the tallest building in the world, named Azerbaijan Tower, that aims to dwarf Dubai’s Burj Khalifa. The project entitled Khazar Islands, will be funded by foreign investors and “is expected to cost some $100 billion” (Reuters, 2012: online).

This type of “multiyear capital-intensive spending projects” exemplifies the type of reckless behaviour typically carried out by oil nations “in an effort to absorb the windfall” when oil prices are high (Tsalik, 2003: 5). If there are not enough wealthy Bakunians to finance the current luxury enterprises in Baku, who is going to buy into Khazar Islands?

23

T

he project’s website claims it “is sure to be a popular destination for visitors, both from the capital and abroad” (Avesta Concern, N.D.: online). With strict and costly visa laws (Appendix 7, 28) that are still kept firmly in place for tourists over the European Games, and a backdrop of corruption, there are several deterrents preventing this project from becoming a success. Azerbaijan was ranked 30 in the 2014 Global Retail Development Index, which assesses the developing new markets for global companies to penetrate. Azerbaijan was categorised as a low priority market. Elements such as political instability contribute to the level of ‘country and business risk’ - the higher the level, the higher the risk of doing business there (A.T. Kearney, 2014).

As a modernising nation still in its infancy, otherwise known as a ‘rentier’ state, Azerbaijan is vulnerable to exhibiting traits of an oil nation that doesn’t handle their assets well. According to Tsalik, “in recent decades countries blessed with resource wealth have consistently underperformed resource-poor countries on almost every indicator of progress ranging from human development, economic growth, democracy and good governance” (2003: 1).

Crony capitalism is responsible for all Azerbaijan’s deplorable attributes and no doubt has offset the ongoing territorial dispute in the Armenian-occupied Nagorno Karabakh region. Azerbaijan is showing all the signs of an oil nation that could well slip into a catastrophic state.

24

CULTURAL CAPITAL

If it isn’t careful, it could end up like Nigeria – Africa’s largest oil producers – who squandered a quarter trillion dollars worth of oil revenues and is deeply in debt, leaving most of its citizens in dire poverty. Instead, Azerbaijan should opt to follow the lead of countries such as Botswana, Indonesia and Malaysia who have improved human development by diversifying their economies to reduce excessive reliance on natural resources.

This is particularly crucial to Azerbaijan, as they have already surpassed their peak oil production in 2010, which is expected to decline to a quarter of its peak by 2024. Due to its small reserves, Azerbaijan’s resources will eventually deplete altogether. This is especially concerning as its economy is highly dependent on its energy exports, “the oil sector comprises two-thirds of industrial production and more than 90 percent of the value of the country’s exports” (2003: 90).

Tsalik concluded her assessment of Azerbaijan by evaluating that in order “to pursue economic development and alleviate widespread poverty, it must revive its moribund non-oil industrial sector” (2003: 119).

25

Fig.9: Billboard advertising Khazar Islands (Standing, 2015).

3 .ART IN AZERBAIJAN 26

CULTURAL CAPITAL

“Azerbaijan exists at the crossroads of Europe and Asia. It has long been a critical point of cultural exchange and cross-cultivation. From ancient civilizations depicted in the cave drawings of Gobustan, the Christian Albanian temples of the 1st century AD and the first Turkic settlements of Atilla’s warriors, to rich Islamic traditions, Sufi poetry, Oriental music, architecture and crafts, and finally to Russian industrialism and the Soviet modernity, Azerbaijani heritage is highly diverse and fascinatingly complex. Maintaining close relations with its neighbours, Azerbaijani people have internalised the improvisations brought on by time and identify in equal measure with an array of seemingly distinct cultural constructs” (Garayeva in Erickson, 2015: 31).

27

“Baku doesn’t have one style. It has a lot of styles and this is a new style”

28

Fig.10: Threads installation (2012) by Faig Ahmed exhibited at Yarat Contemporary Art Space (Standing, 2015).

CULTURAL CAPITAL

A

zerbaijan is a country whose identity and culture is shaped by its larger and more powerful neighbours: Russia, Turkey and Iran. Even in physical appearance, Azerbaijanis are diverse. Some are distinctly Middle Eastern, while in the north they are fair. Allison suggested that “during seven decades of Soviet rule [Azeris] have to a great extent lost specifically national characteristics, suffered linguistic assimilation… and lost most national traditions and any familiarity with their own history” (1996: 151). Whilst, the transition into an independent nation was initially a struggle, Azerbaijan has capitalised on its position as a new state and prides itself on its complex and diversified culture.

According to Ahmed: “Baku doesn’t have one style. It has a lot of styles and this is a new style… for Baku it’s kind of an experimental place… To be Azerbaijani, it’s always to be ready

Fig.11: Candy flag sculpture (2014) by Laurence Jenkell outside the Heydar Aliyev Centre (Standing, 2015).

Fig.12: Paint brush bouquet in Old City (Standing, 2015).

29

to change and at the same time to keep your identity. Identity means any culture that is [created in Azerbaijan] and what exists right now” (Appendix 11a, 59).

The concept of a divergent identity translates heavily into Azeri art. One artifact that is truest to the country’s heritage is its carpet weaving. It is older than the country itself and has been listed amongst UNESCO’s list of the Intangible Cultural Heritage of Humanity. The colourful carpets typically bear intricately-detailed patterns with a geometric sensibility. The complex embroidery is almost symbolic of the Azerbaijan’s complex culture. Centuries later, these carpets still inform commercial design (fig.13) and the works of local contemporary artists such as Ahmed (fig.10) and Farid Rasulov.

Art – in all its mediums is an intrinsic part of Baku’s cultural fabric. The city boasts a number of credible art galleries, Fig.13: Detail from Emporium carrier bag (Standing, 2015).

30

CULTURAL CAPITAL

Fig.14: Painting by Ali Ibadullayev exhibited at the Museum of Modern Art (Standing, 2015).

Fig.15: On the Way Home by the Sea installation (2014) by founder Aida Mahmudova at Yarat Contemporary Art Space (Standing, 2015).

Fig.16: Artwork by Farkhad Farzaliyev as part of the Granny’s Vocabulary Series (2014) exhibited at YAY Gallery (Standing, 2015).

32

Fig.17: Interior of the Museum of Modern Art (Standing, 2015).

CULTURAL CAPITAL

“Baku’s artistic culture infiltrates into everyday design”

Fig.18: Exterior of Yarat Contemporary Art Space (Standing, 2015).

showcasing a bountiful archive of local talent - despite its small population and size. At every turn there is a quirky art installation in the street as frequent as there are bronze statesman statues in a Western city. In this respect, it has similar artistic credentials to Barcelona (Case study A, 22).

Its artistic culture infiltrates into everyday design and printed matter is taken very seriously in Baku. Every leaflet, magazine or catalogue made there is a tactile treat to own. With keen creatives aplenty in the Aliyev family, art is very much supported even by the crony government. Leyla - the president’s daughter and editor-in-chief of Condé Nast’s highly stylised Baku magazine - exhibits her illustrations in the Museum of Modern Art (fig.17).

The president’s niece is allegedly behind the Azeri high-society glossy Nargis, which boasts thermographic mastheads on uncoated paper, whilst another is Aida Mahmudova (fig.15) who was trained at London’s Central Saint Martins. She is founder of the Yarat contemporary art foundation, which is comprised of two galleries, artists’ studio and an education programme (Business of Fashion, 2014: online). The complimentary gallery catalogues are a far cry from the saddle-stitched booklets received in the UK, and are instead hardback, perfect-bound books (fig.21).

33

Fig.19: Isolation Room project (2015) by Yarat in Port Baku Mall (Standing, 2015).

Fig.20: Farhad Khalilov exhibition at the Saatchi Gallery as part of the Buta Arts Festival 2014 (Standing, 2015).

34

Fig.21: Selection of publications acquired in Baku. From top to bottom: Baku Magazine (English version), Baku Magazine (Russian version), Nargis Magazine, 1295 Days book by Yarat Organisation and YAY Gallery catalogue (Standing, 2015).

With so much art to boast, it seems appropriate that Azerbaijan’s only penetration into the UK has been the Buta Arts Festival – a quadrennial event in London showcasing a series of visual art exhibitions, concerts and theatre performances (fig.20 and 26).

Such an importance is placed on art that the London-based Caspian Arts Foundation was founded to provide opportunities for financially-disadvantaged children from Azerbaijan and its surrounding areas to nurture their creativity overseas. Not only is their mission to support creative education but also to promote the importance of it. The founder Nina Mahdavi stressed that “Baku has real potential to become a significant world centre for the arts and culture with a whole economy supporting the creative industries.

It would benefit the entire region” (Baku, 2015: 176).

CULTURAL CAPITAL

Fig.22: Artwork by Farkhad Farzaliyev as part of the Granny’s Vocabulary Series (2014) exhibited at YAY Gallery (Standing, 2015).

35 Fig.23: Azerbaijan Carpet Museum, Baku (Standing, 2015).

4.THE DISCERNING DRIFTER

I

ncidentally, a recent Mintel holiday review has stated that the fall in oil prices over the next 12-18 months will contribute to the revival of holidays abroad from the UK and create a window of opportunity for travel whilst oil prices remain low.

When surveying the general public on their holidaying habits, the most important criteria when choosing a destination was the country’s culture at 77%. This was ranked of higher importance than the food (50%) or beaches (48%). 80% of respondents also claimed they would be influenced by a destination’s art scene when choosing a holiday (Appendix 8b, 40). The research supports a separate Mintel forecast into the future of beach holidays. Worthington again claims that in order for beach destinations to maintain its popularity, it will need to diversify its appeal by offering cultural attractions that would attract older and single travellers instead of just the family market (2015: online). It seems the days of poolside retreats are nigh, and holidaymakers are becoming more discerning and adventurous.

The word culture however, is very vague and interpretational in this context.

A poll was conducted to find out how individuals identify with the word ‘culture’ in the holiday context. The most common keywords associated were: traditions, religion, history, food, music and art. Whilst the responses were broad, a prevalent theme was that culture should be “the things that make the place different” to anywhere else (Appendix 9b, 45).

36

CULTURE FOOD

BEACHES NATURE FAMOUS SIGHTS HISTORY ARCHITECTURE NIGHTLIFE SPORTING ACTIVITIES THEMEPARKS

CULTURAL CAPITAL

Which factors are most important to you when choosing your holiday destination?

37

Fig.24: Infographic based on survey results of holiday priorities (Standing, 2015).

NO 23%

POSSIBLY 52%

YES 25% Would you ever consider travelling to Baku, Azerbaijan for your holiday?

If I showed you this picture of Baku, would it make you more likely to want to travel there?

YES 91% NO 9%

38

Fig.25: Infographic based on survey results and image used for Baku holiday question (Standing, 2015).

CULTURAL CAPITAL

A

t the beginning of the project, a survey was conducted to get an idea of the general UK public’s current awareness and association of Azerbaijan. When asked: “How have you heard of Azerbaijan?” the most popular result was via Eurovision (31%), closely followed by a lack of awareness altogether (27%) (Appendix 8a, 37). From this result, a separate poll was conducted to find out words that were immediately associated with the word ‘Eurovision.’ The results revealed a list of predominantly negative adjectives with cheesy, tacky and trashy being amongst the most popular keywords (Appendix 9a, 44).

The results ultimately reflect the lack of promotion Azerbaijan has within the UK, rather than an accurate representation of the country. Currently, there is little media coverage on the country and few marketing attempts. There is one Visit Azerbaijan commercial by the tourism board, which frequently circulates the American news channel CNN (that can be viewed via Sky satellite television in the UK). It represents a very

Fig.26: Buta Festival artwork (Buta Lab, 2014).

Fig.27: Infographic to survey result for holiday art scene question (Standing, 2015).

Would you travel to a destination based upon its art scene?

YES 80%

NO 20% 39

Fig.28: Stills from Visit Azerbaijan television commercial (Standing, 2015).

40

CULTURAL CAPITAL

historical side of the country that is not necessarily accurate or wholesome.

The commercial is filmed in Baku’s Old City, emphasising the country’s Middle Eastern heritage (fig.28). Similarly, the Buta Festival artwork similarly draws its visual cues from ancient Ottoman paintings (see fig.26). On the other hand, Aliyeva’s Baku is a very modern magazine that promotes the city’s culture in between features from other countries. However, the quarterly magazine is stocked sparingly in WH Smith throughout London and is barely promoted otherwise.

When respondents were asked if they would consider travelling to Baku as a holiday destination, the most popular answer was “possibly” at 52%.

The same question was asked again, this time with a few personal images depicting the sights there. The response changed to 91% who now said they would consider travelling there. When asked why, a common theme emerged expressing surprise at how much more “modern” Baku appeared than expected (Appendix 8b, 42).

41

5.THE BIG IDEA

W

ith all insights considered, it has been evaluated that Azerbaijan will need to enhance a sector outside of oil to prolong its economy and avoid depleting resources. It is established that Baku has a strong arts community that is intrinsic within the capital’s cultural landscape. Research has shown that culture – and art in particular – has the influential means to attract tourism.

Furthermore, it has been proven that UK travellers are willing to travel to Baku if they are made aware of the area.

In order for Azerbaijan to sustain its economy, it should utilise Baku’s art scene as a means to attract tourism, which will ultimately bring muchneeded trade to the city.

42

CULTURAL CAPITAL

43

Fig.29: Cartogram to visualise Azerbaijani culture (Standing, 2015).

CREATIVE CONCEPT 44

CULTURAL CAPITAL

45

6.ONLINE

Fig.30: Screenshot of azerbaijan.travel homepage (DreamArt, 2015).

I

n order to understand the appeal behind a popular holiday destination, analytical research was carried out on official tourism websites. A website acts as the global portal for information on the destination. Therefore the aesthetics and design of the website should be accurately representative of the location.

There are many media outlets and platforms - such as social media - to communicate travel recommendations that will often make official websites redundant for many popular holiday destinations. However,

46

“The aesthetics and design of the website should be accurately representative of the location.�

for destinations that receive little overseas attention, a website may be the only outlet of information for foreigners to obtain knowledge on the area. This particularly applies to Azerbaijan.

Their official tourism website (azerbaijan.travel) is not representative of the country’s modernity and rich arts culture. Its landing page bears a large, vivid background image of flowers.

However, these flowers are not symbolic to the country and emits a misguided representation.

There is a lack of hierarchy in the website design, which makes it difficult to navigate, and no

CULTURAL CAPITAL

Fig.31: Screenshot of visitnorway.com homepage (Innovation Norway, 2015).

Fig.32: Screenshot of iamsterdam.com homepage (I Amsterdam, 2015).

Fig.33: Screenshot of meet.barcelona.com homepage (Ajuntament de Barcelona, 2015).

47

“Beautiful imagery speaks for itself�

48

Fig.34: Moodboard of travel booking websites. Clockwise from top left: Skyscanner, Topdeck, Virgin Holidays, Tripadvisor and Kayak homepages (Standing, 2015).

CULTURAL CAPITAL

consistent colour scheme. It shares the logo with the television commercial, which appears overly illustrative, decorated with motifs that have no bearing to the country’s culture or heritage (fig.30).

The more popular a destination, the more successful its website.

Norway, Amsterdam and Barcelona were chosen as case studies for being the most popular tourist destinations (Appendix 8b, 40) alongside being highly livable areas (Case studies a, 22 and b, 52). They all share a

visual landing page, depicting vivid photography representative of the country’s landscape. For example, Barcelona showcases their sea while Amsterdam shows off its canals. The beautiful imagery speaks for itself and the colours are immediately captivating. These are complimented by simple but bold graphic design. The simplicity transcends into its logos, which are general type-based and not overly illustrative. Furthermore, the websites are clearly navigable and categorises site information by the purpose of one’s visit (see fig.31-33).

Following this, an analysis into holiday booking sites were carried out. Case studies were chosen by consumer recommendations and

“Alongside providing information and a service, these sites also featured supporting content” include: Skyscanner, Tripadvisor, Topdeck, Virgin Holidays and Kayak (Appendix 12, 64). Similarly to tourism board sites, these booking sites followed a similar highly visual format. This particularly applied to package tour sites such as Topdeck and Virgin Holidays but also Tripadvisor – the user-led review forum. Skyscanner and Kayak are comparison sites and therefore followed a graphical grid format.

From this analysis, it appeared that the most successful websites combined bold, simple graphics with rich, vibrant photography in order to inspire the user’s desire to travel and allow for easy navigation across the website. Alongside providing information and a service, these sites also featured supporting content in forms of travel tips or guides, in order to further stimulate interest, which would subsequently translate into a booking.

49

b.CASE STUDY

NORWAY

N

orway is also an oil nation albeit one that has handled their resources well. The United Nations have ranked the Scandinavian country at first place in its Human Development Index (2013: online), whilst they listed the capital city Oslo second in its UNHabitat City Prosperity Index (2013, 19). There are several reasons behind Norway’s successful economy, which are rooted in its egalitarian culture and “few displays of ostentatious spending” (BBC, 2014: online).

The Norway brand already has a positive image that is strengthened by its design. The country’s codependent relationship with nature is cultivated in Norwegians since childhood (Telegraph Magazine, 2015: 26) and informs their overall

branding. The national logo in all its simplicity, reads: “Norway.

Powered by Nature” (fig.31).

In 2014, a competition was held to redesign the Krone banknotes.

One side depicts imagery by studio Metric Design, which illustrates “Norway’s bond and reliance on the sea,” whilst the back depicts a pixelated view of the coast illustrated by Snøhetta Design.

The stylistic differences between front and back “introduce a tone of modernity without losing the narrative tradition of the banknote design.” The newly designed currency will be distributed in 2017 and has been shortlisted for Design of the Year 2015 by the Design Museum (2014).

Similarly, Norway’s new passport design - created by local

Fig.35: Proposed Norwegian passport design (Neue, 2014).

50

studio Neue in 2014 - is also informed by the country’s strong connection to nature yet depicted in an abstract way. “Beautifully simplified depictions of Norway’s natural landscapes [are] drawn with fine lines in pastel shades.” When shone under UV light, the document reveals “the northern lights in the night sky, a magical touch that adds a deeper sense of intrigue to the already striking document.”

While there is no release date for the new passports yet, the Guardian have already called it a “design classic” and is exemplary of “how progressive design is tied in with the Norwegian way of life.” Gørill Kvamme of Neue is quoted within the same article declaring: “Design has a natural role in helping express what country or culture you are a part of ” (Guardian, 2014a: online).

CULTURAL CAPITAL

Fig.36: Proposed Norwegian banknote design by Metric Design, T. Tønnessen and Snøhetta Design (Norges Bank, 2014).

51

Fig.37: Consumer moodboard for the Occupational Trailblazer (Standing, 2015).

7.CONSUMER

V

52

group (2015: online). With a focus on the young urban male, HSBC have labelled this group the ‘yummies’ and have identified them as the next major ‘masstige’ audience. The term ‘masstige’ is recognised by LS:N Global as the “affordable end of the luxury market.” It is a thriving sector amongst the aspirational younger demographic who have a limited disposable income but are willing to spend it on accessible extravagance and worthwhile experiences – such as holidays (2014).

Although Baku is developing within the footsteps of its ostentatious superior Dubai, the city still benefits from low prices in areas such as hotel rates, restaurant bills and transport due to a lack of consumer demand and market competition. Therefore, Baku’s tourists can enjoy a luxurious holiday experience within budget.

From conducting a broad survey on travelling habits and asking where consumers have holidayed to and why, three consumer groups have been identified.

Fig.38: Filming DJ MK at Hideout Festival 2014 (Byers, 2014).

isit Azerbaijan’s circulation on CNN suggests that it wishes to appeal to a business audience. Based on expat interviews and observational research, Azerbaijan’s current overseas visitors are largely blue-collar workers averaging between the ages of 30-55 (Appendix 17a, 81).

It appears there is a largely untapped audience in the younger demographic that would be open to travelling there for leisure because they are attracted to the capital’s vibrant modernity. After seeing personal photos taken in Baku, 94% of the 18-34s surveyed said they would like to travel there (Appendix 8b, 42). This demographic ranged from students to urban workers in fields such as marketing, advertising and public relations.

Mintel had reported that the affluent AB consumers are the biggest spenders in travel and the 25-34 young urban professional falls under this consumer

7a.THE OCCUPATIONAL TRAILBLAZER INNOVATOR Where do you seek travel inspiration?

I like city breaks, I like lesser known places, and I like easy to get to. So I usually lean toward East Europe.

Where do I seek it? Skyscanner, usually!

PROFILE 25-45 - FREELANCER - AB1 - LONDON MEDIA OF CHOICE DIGG - INSTAGRAM - NETFLIX

T

hey are less tourists, and more serial businesstrippers. Through their (literally) high-flying jobs, they find themselves in obscure locations inadvertently discovering emerging cultures quite frequently. Typically aged between 25-45, they might be journalists, PRs, investment bankers and, quite often, blue collar labourers too. However, it is those in the creative industries who will advocate their newfound discoveries more effectively. This type of traveller is social media-savvy, often cross co-ordinating platforms and maintains an active Instagram account built upon enviable images of their travels. Tomorrow PR founder Neil Byrne will fill the company’s wellmanicured Instagram account with details from visits with international clients. Others such as music journalist Alasdair Byers will advocate the location within his published gig reviews (Appendix 12a, 65). They may not have time to see all the tourist sights but will immerse themselves into their environment by exploring the towns and drinking with the locals after work.

How do you advocate and raise awareness of the new locations you have visited?

“Whenever I travel abroad, it’s usually for a magazine, so pictures, words, videos end up being put through that mags’ social channels” 53

PRIMARY CONSUMER

7b.THE DISCERNING DRIFTER EARLY MAJORITY PROFILE 25-35 -FULL-TIME EMPLOYMENT - AB1 - LONDON MEDIA OF CHOICE PODCASTS - TWITTER - NEWSPAPERS

T

his type of traveller is constantly reading, watching, scrolling and are always plugged-in. These are the culturally aware and tech-savvy travelers who will read into an exciting new destination just before everybody else does either via a quality newspaper or an independent magazine received from their Stack subscription. Similarly to the Occupational Trailblazer, they are typically from a creative industry such as marketing or advertising and undoubtedly hot on social media. Therefore, making them active advocators of their travels mainly through Instagram and Twitter. Their destinations of preference integrate culture with nature, making locations within Scandinavia, South America, Spain and Canada the most lusted after amongst this segment. Alongside one main holiday further afield, they will fill their year with plenty of city breaks across Europe (Appendix 12b-c, 66-67).

Where do you seek your travel inspiration?

My travel inspiration has been taken bit by bit from surfing Google Earth, following my own nose and using websites like TripAdvisor etc.

DEVICES IPHONE - MACBOOK PRO - APPLE TV - IPAD - SONOS FAVOURITE TITLES MONOCLE - GUARDIAN - SUNDAY TIMES - STACK

54

DAY IN THE LIFE

CULTURAL CAPITAL

6.30-7.30AM

7.30-9AM

9AM-6PM WORK

EVENING

TV: BBC News over breakfast PHONE: Check travel apps for tube/bus status before leaving house on phone

PHONE: Podcasts (R4 Desert Island Discs/Scroobius Pip distraction pieces) and AudioBoom apps whilst travelling to work Check Twitter, Facebook and Instagram whilst overground Load Guardian app before going underground TRADITIONAL MEDIA: Read Sunday supplement or Stack magazine

DESKTOP PC: Load e-mail - Hotmail and Gmail Load internet with BBC News, Guardian and Twitter running all day Check newsletters and work-related links ie. It’s Nice That, Showstudio, Brand Republic, Dezeen, Design Taxi, Le Cool and Creative Review Stream music via Spotify, Sonos or Deezer

TV: Watch Netflix, Popcorn Time or Apple TV SONOS: Listen to 6 Music LAPTOP: Check Instagram, Facebook and news sites occasionally

WEEKENDS TRADITIONAL MEDIA: Read Guardian and Sunday Times

Fig.39: Consumer Moodboard for the Discerning Drifter (Standing, 2015).

55

LATE MAJORITY

7b.THE BUCKET-LIST EXCURSIONIST

T

his type of tourist is slowly ticking off all of the major sights from their never-ending bucket list. They are usually the 18-24 students making the most of a generous loan and overdraft, or recent graduates in full-time work who seek to spend their little disposable income on epic experiences. Whilst they may squeeze in a few weekends to Amsterdam or Paris, they are constantly saving for their next big adventure to Dubai or Thailand.

Their media consumption tends to be more casual, meaning they visit locations that infiltrate the mass media and are inspired to visit Australia based on the soaps they watch, for that reason. However, they are incredibly plugged-in to social media with Facebook being the platform of choice. Therefore they are more perceptive to word-of-mouth recommendations and enviable images on their friends’ feeds (Appendix 12d, 68).

56

CULTURAL CAPITAL

How do you generally book your holidays?

Virgin Holidays, Topdeck, Expedia

PROFILE 18-24 - STUDENT/GRADUATE - C2 - HOME COUNTIES MEDIA OF CHOICE TV - FACEBOOK - LIFESTYLE MAGAZINES

Where have you been on holiday in the past 12 months and what made you choose those places?

“Australia - always wanted to go and had complete bucket list items such as Great Barrier Reef, Uluru, cuddle a koala and travelling alone as a personal achievement”

Fig.40: Consumer moodboard for the Bucket-list Excursionist (Standing, 2015).

57

8.PRINT

T

here is a niche sector within the independent publishing market that chooses to dedicate their content wholly to a specific geographic region in the world.

The Middle East has no less than the Carton, Outpost and Brownbook devoted to publishing tales and rich imagery derived from the sunburnt area.

Brownbook in particular, defies conservative perceptions of the Middle East by

58

fusing contemporary graphics with traditional aesthetics. This magazine stands out for its tactile reading experience, which resonates well with Baku’s discerning print culture. A single issue features numerous tip-ins, posters, booklets and postcards. These are either purely concept pieces or useful language and city guides. A perceptive traveller would gain more insight about a destination from reading about it in magazines such as Brownbook than from a PRwashed travel guide.

CULTURAL CAPITAL

Fig.41: Brownbook Issue 49 and its pull-outs (Standing, 2015).

59

9.EXECUTION RE-PACKAGING THE PACKAGE HOLIDAY

A

recent Mintel report has forecasted a growth in package holidays abroad by 15.8% between 2014-2019 against a 9.1% increase for independent holidays (2015). A package holiday would be the ideal solution to ease accessibility into travelling into Baku, as there is currently a £100 visa fee for UK travellers on top of an exhaustive application system (Appendix 7, 28). There are a few hotels such as the Fairmont who will process the visa application for its guests at an additional charge and a few tours that will integrate the visa fee into its overall price. One example is Undiscovered Destinations who offers an eightday tour around Baku and its neighbouring regions with a small group for £1285. This includes the visa fee but excludes flights from London. There are only four trips available per year and take place only in May or August. This type of holiday presents an ideal solution for wary solo travellers and generally for those who have little knowledge of the region beforehand, but doesn’t allow for much personal freedom and flexibility (N.D.: online).

The proposed execution idea will incorporate elements of the package holiday and will be branded accordingly to accurately reflect Baku’s modern, vibrant and artistic culture. Thus it will present an alternative portal into Baku from abroad aside from its current tourism site. Instead of using a passive title such as Visit Azerbaijan, the proposed brand will be entitled Discover Baku. The name capitalises on the current lack of awareness of the city and invites travellers to find out more. It focuses on Baku as currently there are no flights from London to other cities in Azerbaijan. In order to improve the national economy and increase tourism overall, the idea will focus on bringing trade into Baku and the rest will follow in its steps.

60

CULTURAL CAPITAL

THE ARTISTIC CORE OF THE CAUCASUS Fig.42: Logo design for Discover Baku (Standing, 2015).

61

9a.HOW IT WORKS

Fig.43: Discover Baku homepage mock-ups for desktop and tablet (Standing, 2015).

T

he aim of Discover Baku is to make travelling to and around Baku easy. The website is content heavy with plenty of inspiring features and guides of things to do during your stay. The site categorises the content into sectors the city are renowned for. These include: art, architecture, history, nature, cuisine and shopping. Once the user has browsed the content and decides to make a booking, they will be able to choose a package based on their interests.

As the figures explain, they can choose up to three interests from the list above or choose one that incorporates ‘a bit of

62

everything’ (see fig.46). By indicating their interests, Discover Baku will provide the traveller with free unlimited entry passes based on attractions categorised within each sections.

For example, if the user selected art as one of their preferences, they would receive unlimited access into all of the city’s galleries including all Yarat galleries, the Museum of Modern Art and Heydar Aliyev Cultural Centre. Similarly, if they opted for nature they would receive free entry to see the Yanar Dag (burning mountain) and mud volcanoes in Gobustan. If they chose ‘the bit of everything’ option however, they would receive limited access across a broader range of attractions and would have the option

CULTURAL CAPITAL

Fig.44: Discover Baku homepage with drop down menu (Standing, 2015).

Fig.45: Discover Baku art page (Standing, 2015).

63

Fig.46: Discover Baku booking page (Standing, 2015).

64

Fig.47: Discover Baku hotel selection page (Standing, 2015).

CULTURAL CAPITAL

to choose beforehand which ones they would like to attend.

This is inspired by a similar system that takes place in Campania, Italy.

When visitors enter one local attraction such as the Ercolano, they are given a ticket that provides access to four others including Pompei, Boscoreale, Oplontis and Stabia. The ticket is €10 altogether and staff cross out attractions on the tickets once they’ve been visited.

According to Polish student Paulina Niemscewska who recently visited the area, “it is much more encouraging to go and see more than you may have originally planned.” (Appendix 15, 73).

Discover Baku will process all tourist visa applications at no additional charge.

However, the fee will still be incorporated into the overall package price. By providing free access to local attractions, it is a small gesture towards the excessive visa charge and makes exploring the city a lot easier, which is the ultimate aim behind the brand, for tourists to discover all that Baku has to offer.

Discover Baku will seek sponsorship from flight companies and Azerbaijan’s Ministry of Culture and Tourism in order to receive backing and enable partnership with businesses across the city. To be included within the brand’s official list of attractions and hotels, will boost the business’ profile and drive trade so the partnership is beneficial for all parties involved.

Ultimately, the package is based on flexibility and is cost dependent on the time of year the consumer wishes to visit and which hotel they wish to stay in. The

Fig.48: Little Book of Baku cover mock up received as part of postal pack (Standing, 2015).

65

types of interest preferences selected aren’t taken into account as entry fees into all attractions are provided for free.

Upon placing a booking, the consumer will receive a pack prior to their trip by post. The pack will include Discover Baku’s own magazine (fig.48-49), which will feature engaging city-related content alongside useful tips and guides to the area. It will follow in a similar fashion to Barcelovers and Brownbook in terms of the nature of its content and aesthetic appeal. Currently, there is little tourist guidance for Baku’s visitors, with limited guides stocked in the UK, a complimentary guide sent to their door will further enable the brand’s mission of easing travel into Baku.

As many Azeris do not speak English and there is no information centre for tourists in Baku, this proposal will be most effective with a physical space in place. The tourist centre will act as a hub for overseas visitors to make enquiries, bookings, arrange transport but also act as a meeting point with a café, library and gallery built within the structure.

The development of this structure can be funded by state investment if Discover Baku successfully gains partnership. It will be a viable proposal as nothing similar exists in Baku today although tourist centres are a common feature across the world. Tourists currently get around by making continuous requests to their hotel’s concierges. However, guests at smaller hotels without a concierge service struggle to find the necessary information otherwise (Appendix 17a, 81). A dedicated team of English-speaking

66

Fig.49: Little Book of Baku mock-up features (Standing, 2015).

CULTURAL CAPITAL

67

staff at the tourist centre will handle all enquiries and ease the visits of all Discover Baku guests.

An additional feature to the centre that will alternatively solve the initial research question into diversifying Azerbaijan’s energy resources (see case study C, p.70 for further details), would include the integration of wind turbines within the architecture. The word Baku itself directly translates to ‘city of wind’ for its gusty climate yet there is no wind power in place and seems a missed opportunity. According to the US Energy Information Administration, there is a lot of potential for Baku “to develop wind energy… but wind farms compete with developing tourism areas” (2014). The proposed infrastructure would solve this problem by integrating the two together.

68

As demonstrated within figure x, the turbines would be shaped into artistic shebeke symbols that would present an innovative, creative and unsightly method into incorporating wind energy in Baku. The proposed design has been imagined using guidance from final year BArch (Hons) Architecture student Connor Doyle (Appendix 14, 70). It is loosely inspired by London’s Strata Tower with more expected success due to Baku’s windier climate and position on the coast, in contrast to Strata’s inner city location (London Evening Standard, 2010: online). It will be proposed for construction on the boulevard where there are plenty of wide, empty spaces (fig.50). The turbines will face towards the ocean where it will receive optimum breeze, whilst the entrance will face into the city centre.

CULTURAL CAPITAL

Fig.50: Tourist centre mock-ups (Standing, 2015).

69

c.CASE STUDY HOW ARCHITECTURE CAN IMPROVE COMMUNITIES 70

An analysis of the DESIGNS OF THE YEAR 2015 Architecture entries

CULTURAL CAPITAL

“Design isn’t just practical: it also stimulates feelings…

Architecture provides a fully immersive experience that can excite or calm the spirit” (Design Museum, 2015).

71

B

aku’s new architectural ventures are aesthetically stimulating, but that’s where it ends. It has encouraged debate amongst the community by those who are enlivened by them, and equally from those who are repulsed. However, design – no matter what its scale- has the means to create impact and change, particularly architecture due to its large, all-encompassing scale.

With the capital soon hosting the inaugural European Games and drawing in a large quantity of tourists, there is an opportunity to create a stimulating architectural installation for its visitors to interact with, and subsequently build bonds to the hosts with. When Sochi, Russia hosted the Winter Olympics in 2014, it set out to do just that and its largest telecoms provider MegaFon commissioned London-based architect Asif Khan to conceptualise MegaFaces. The installation combined technology, social media and art in order for the sponsor to build an emotional connection with the Russian public and global audience of the Games. It harnessed the need for immediacy and appeal of digital portraiture, such as ‘selfies.’ A 3D photo-scanning booth travelled to 12 cities in Russia prior to the games and 150,000 portraits were displayed across a kinetic façade comprised of 11,000 LED-tipped telescopic motors. Each one acted like a pixel that could each extend up to 2.5 metres to align to the

contours of a person’s face. It allowed the general public, even those without event tickets, to participate in a bit of Olympic history. It allowed people to become “the face of the Olympics” (Wallpaper, 2014: online).

Similarly, if oil revenues are being spent towards flash architecture, the resulting outcome could at least counteract the country’s dependency on fossil fuels by integrating energy-efficient features. Many of the architectural nominations for the Design of the Year Awards 2015 were sustainability projects, as “concern for the earth’s limited resources encourages designers to find practical solutions to global environmental problems… sustainability is increasingly seen as a core part of the design process” (Design Museum, 2015).

The most notable entries included the Waterbank Campus at Kenya’s Endana Secondary School designed

by PITCHAfrica, which collects rainwater from it’s sloped walls into a moat underneath. Similarly, House for Trees by Vo Trong Nghia Architects, Vietnam collects water where houses also act as giant plant pots for trees to reintroduce greenery into the rapidly urbanising capital Ho Chi Minh City. These were both cost-effective projects. Waterbank Campus now provides the school with a year-round supply of water and House for Trees only cost US $156,000 to build (Designboom, 2014a and 2014b: online).

Fig.51: MegaFaces installation (Hufton and Crow, 2014).

72

CULTURAL CAPITAL

Fig.52: House for Trees (Oki, 2014).

Fig.53: Waterbank Campus (PITCHKenya, 2014).

73

9b.INTEGRATED MARKETING STRATEGY

Fig.54: Discover Baku Advert in Monocle mock-up (Standing, 2015).

74

CULTURAL CAPITAL

D

iscover Baku should aim to launch a slow-build campaign after the European Games have subsided in July 2015 to reignite interest in the city without relying on the sporting backdrop. State backing presents financial opportunity for various above-theline promotional methods for Discover Baku which (aside from the construction of the tourist centre) would barely dent their budget considering their current expenditure. The website is core to the brand and is the least costly to build, while the printed packs will be covered in the price of the holiday bookings.

In order to target its primary consumer of early majorities, a press trip will be conducted inviting influential innovators to encourage advocation of the service.

Invitations will be sent to travel editors of their favourite publications such as Monocle, the Guardian, the Sunday Times and independent titles covered under Stack. In particular, travel titles such as Cereal and Boat. Similarly to Monocle, Wallpaper also has a global readership and equally is an important invite as they too specialise in producing city guides. Currently, there isn’t one for Baku, thus presenting an ideal opportunity for Discover Baku to initiate one by guiding authors through the city.

Likewise, Telegraph Media Group is also an important newspaper client as

they produce comprehensive travel supplements including the glossy Ultratravel. This method presents the opportunity to create honest advertorial features to inform the primary consumer, particularly important for the independents that don’t typically run advertising. As the brand is aiming to raise awareness however, the state should also look to fund print advertising within the commercial titles to position Discover Baku more prominently within these influential publications and drive prospective tourism harder. Although the adverts proposed are intended to run individually in separate titles, to run the six single page and one double page advert consecutively in the most expensive title – Monocle - would cost £100,300 which is a minor investment for Baku, with more scope for tangible results (Monocle, 2014: online).

When it comes to booking a holiday however, the primary consumer will head straight for well-known travel websites such as Skyscanner, Kayak and Tripadvisor to seek deals and honest recommendations beforehand. Discover Baku should opt to invest in targeted online advertising too to reach these consumers at the point when they are proactively looking to book a holiday (fig.55).

Fig.55: Discover Baku ad in Skyscanner mock-up (Standing, 2015).

75

Fig.56: Discover Baku art print advert mock-up (Standing, 2015).

76

CULTURAL CAPITAL

Fig.57: Discover Baku cuisine print advert mock-up (Standing, 2015).

77

Fig.58: Discover Baku architecture print advert mock-up (Standing, 2015).

78

CULTURAL CAPITAL

Fig.59: Discover Baku history print advert mock-up (Standing, 2015).

79

Fig.60: Discover Baku nature print advert mock-up (Standing, 2015).

80

CULTURAL CAPITAL

Fig.61: Discover Baku main print advert mock-up (Standing, 2015).

81

82

CULTURAL CAPITAL

Fig.62: Discover Baku main print advert mock-up double page version (Standing, 2015).

83

9c.DESIGN

T

he logo design features an elegant yet modern Didot type bordered by a shebeke inspired pattern that aims to accurately depict Baku’s cosmopolitan and progressive society (Dawson, 2013). The web-style bordering motif embodies the broadening nature of discovery.

The strapline: “The artistic core of the Caucasus,” is more of a straightforward and honest statement, rather than a grandiose or “empty” claim that the consumer doesn’t appreciate (Appendix 13, 69).

The aesthetics within the website and all of its adverts are reliant on rich, vivid photography of the city. An image of the skyline infiltrated with colourful streams stands as a main flagship image. This was achieved by merging a photograph of a colourful petroleum spill in water (fig.64) with the landscape image (fig.65). The colours from the oil spill aim to discreetly convey the prosperity brought to Baku because of oil revenues. It has helped to develop and transform the city into a progressive hub far removed from its bleak Soviet past. The colours are also representative of Baku’s vibrant, cross-cultural society.

Fig.63: Discover Baku logo two types (Standing, 2015).

84

CULTURAL CAPITAL

Fig.64: Colourful oil spill (Anon, N.D.).

Fig.65: Baku cityscape (Standing, 2015).

85

9d.FUTURE GROWTH

86

CULTURAL CAPITAL

D

iscover Baku will significantly increase tourism in Baku because it has enabled easy accessibility into the city. Based on forecasted success, this proposal can expand to encourage tourism in nearby cities such as Khirdalan and Nakhchivan, which would distribute trade evenly across the country. There is also the potential for expanding the business to cover the entire Transcaucasia area by enabling tourism into Armenia and Georgia also. This would present an opportunity to create an umbrella brand titled Discover Transcaucasia.

87

CONCLUSION

88

CULTURAL CAPITAL

N

ot only will Discover Baku increase trade within Azerbaijan, it will alter perceptions of the country overseas too. The service-led facility, with generous perks attached, should help shift the current negative associations the country has in relation to Eurovision, corruption and strict visa laws.

The long-term aim of Discover Baku is to sustain enough tourism in order to sustain jobs for its locals too. As proven in the case of Barcelona, job security translates to thriving businesses, which contributes to an overall positive economy. Therefore, the benefits should be latent, not only from visiting advocates, but in residential quality of life also.

The positive outcomes derived from the proposed execution are potentially endless. It is a stepping-stone to catalyze long-term improvement. Discover Baku capitalises and promotes the city’s diverse nature, which make it so appealing and unique. At the very least, the benefits will prove that a culture that prides itself on its diversity will only thrive if it diversifies its economy as well.

89

90

CULTURAL CAPITAL

WORD COUNT 6,593

91

LIST OF REFERENCES BOOKS ALLISON, R., ed. (1996). Challenges for the Former Soviet South. Washington, D.C.: Brookings Institution Press.

DAWSON, P. (2013). The Field Guide to Typography: typefaces in the urban landscape. London: Thames and Hudson.

ERICKSON, G., ed. (2015). 1295 Days. Baku: YARAT. TSALIK, S. (2003). Caspian Oil Windfalls: who will benefit? New York: Open Society Institute.

CONFERENCES/LECTURES LS:N Global. (2014). Luxury Futures Forum 2014, 5 November 2014, London.

MAGAZINES MOLLISON, J. (2015). States of Play, Telegraph Magazine, 25 April, p.24-31.

RASA, T. (2015). Nina Mahdavi. Baku, Spring, p.176.

DATABASES MINTEL. (2015). Beach Holidays – UK January 2015 [online]. Available via: Mintel [Accessed 27 April 2015].

MINTEL. (2015). Holiday Review – UK March 2015 [online]. Available via: Mintel [Accessed 27 April 2015].

MINTEL. (2015). Package vs. Independent Holidays – UK April 2015 [online]. Available via: Mintel [Accessed 27 April 2015].

EXHIBITIONS DESIGN MUSEUM. (2015). Designs of the Year 2015. London: Design Museum.

METRIC DESIGN, TØNNESSEN, T., and SNØHETTA DESIGN. (2015). Banknote Design for Norges Bank [digital graphic].

Design Museum, London.

WEB ARTICLES ANON. (2008). After The Party: What happens when the Olympics leave town. The Independent [online]. 19 August. Available at: http://www.independent.co.uk/sport/olympics/after-the-party-what-happens-when-the-olympics-leave-town-901629.html [Accessed 28 April 2015].

ANON. (2013). Barcelona, a global brand that sells. Fira News [online]. March. Available at: http://fira-news.com/en/marcabarcelona/ [Accessed: 28 April 2015].

ANON. (2014). Designs of the Year prize “about architecture rather than politics” says Design Museum director. Dezeen [online]. 2 July. Available at: http://www.dezeen.com/2014/07/02/ design-museum-designs-of-the-year-prize-zaha-hadid-heydar-aliyev-centre-azerbaijan/ [Accessed 28 April 2015].

ANTIDZE, M., and EVGRASHINA, L. (2012). Azerbaijan aims to put up world’s tallest building. Reuters [online]. 11 April.

Available at: http://in.reuters.com/article/2012/04/11/azerbaijan-islands-idINDEE83A0HR20120411 [Accessed 28 April 2015].

BBC MONITORING. (2015). Azerbaijan Profile – Overview. BBC News [online]. 2 April. Available at: http://www.bbc.co.uk/ news/world-europe-17043424 [Accessed 12 April 2015].

COLDWELL, W. (2014a). Norway’s new passport – already a design classic? The Guardian [online]. 17 November. Available at: http://www.theguardian.com/travel/2014/nov/17/norway-new-passport-design [Accessed 29 April 2015].

DE PURY, S. (N.D.) Leyla Aliyeva. Interview [online]. Available at: http://www.interviewmagazine.com/art/leyla-aliyeva/ [Accessed 24 March 2015].

GIBSON, O. (2014b). Turning black gold into sporting glitter: what Azerbaijan tells us about modern sport. The Guardian [online].

19 December. Available at: http://www.theguardian.com/sport/2014/dec/19/black-gold-sporting-glitter-azerbaijan-modernsport [Accessed 17 April 2015].

KLINGELFUSS, J. (2014). MegaFaces: Architect Asif Khan’s kinetic façade for the Sochi 2014 Winter Olympics. Wallpaper [online]. 11 February. Available at: http://www.wallpaper.com/architecture/megafaces-architect-asif-khans-kinetic-faade-for-thesochi-2014-winter-olympics/7184 [Accessed: 5 May 2015].

LEVINE, J. (2012). Big in Baku. New York Times [online]. 15 August. Available at: http://www.nytimes.com/2012/08/15/tmagazine/big-in-baku.html?_r=2 [Accessed 24 March 2015].

MARTIN, E. (2010). Residents hit boiling point at the eco tower where turbines don’t turn. London Evening Standard [online].

17 August. Available at: http://www.standard.co.uk/news/residents-hit-boiling-point-at-the-eco-tower-where-turbines-dontturn-6503753.html [Accessed: 10 May 2015].

PITHERS, E. (2011). Condé Nast launches new magazine about Azerbaijan. Telegraph Fashion [online]. 13 October. Available at: http://fashion.telegraph.co.uk/news-features/TMG8824318/Conde-Nast-launches-new-magazine-about-Azerbaijan.html [Accessed 19 March 2015].

92

CULTURAL CAPITAL

STEVENS, P. (2014a). Waterbank Campus by PITCHAfrica Harvests Precious Rainfall. Designboom [online]. 12 August. Available at: http://www.designboom.com/architecture/pitch-africa-waterbank-campus-kenya-08-12-2014/ [Accessed 5 May 2015].

STEVENS, P. (2014b). Vo Trong Nghia Architects Stacks House for Trees in Vietnam. Designboom [online]. 19 June. Available at: http://www.designboom.com/architecture/vo-trong-nghia-architects-house-for-trees-vietnam-06-19-2014/ [Accessed 5 May 2015].

TAYLOR, A. (2012). How the Olympic games changed Barcelona forever. Business Insider [online]. 26 July. Available at: http:// www.businessinsider.com/how-the-olympic-games-changed-barcelona-forever-2012-7?IR=T [Accessed 28 April 2015].

TODERIAN, B. (2012). Six ideas every city should steal from Barcelona. Citylab [online]. 30 November. Available at: http://www. citylab.com/design/2012/11/6-ideas-every-city-should-steal-barcelona/3998/ [Accessed 28 April 2015].

TREANOR, S. (2014). How Norway has avoided the ‘curse of oil.’ BBC News [online]. 27 August. Available at: http://www.bbc. co.uk/news/business-28882312 [Accessed 29 April 2015].

YOUNG, R. (2014). Azerbaijan’s Edge in the Caucasus. Business of Fashion [online]. 12 March. Available at: http://www. businessoffashion.com/2014/03/market-gps-azerbaijans-edge-caucasus.html [Accessed 24 March 2015].

REPORTS A.T. KEARNEY. (2014). The 2014 Global Retail Development Index [online]. Chicago: A.T. Kearney. Available at: http://www. atkearney.co.uk/documents/10192/4600212/Full+Steam+Ahead+for+Global+Retailers-+2014+Global+Retail+Development+ In....pdf/6f55a59b-e855-4236-96cb-464c2ca01e91 [Accessed 28 April 2015].

BELLOSO, J. (2011). The City Branding of Barcelona: a success story? [online]. Barcelona: Futureplaces. Available at: http://cor.europa. eu/en/events/europcom/Documents/Belloso.pdf [Accessed 28 April 2015].

BRUNET, F. (2002). The Economic Impact of the Barcelona Olympic Games, 1986-2004 [online]. Barcelona: Centre d’Estudis Olímpics UAB, Planeta, Ajuntament de Barcelona. Available at: http://olympicstudies.uab.es/pdf/wp084_eng.pdf [Accessed 28 April 2015].

INTERNATIONAL OLYMPIC COMMITTEE. (2013). Factsheet: Legacies of the Games [online]. Lausanne: International Olympic Committee. Available at: http://www.olympic.org/Documents/Reference_documents_Factsheets/Legacy.pdf [Accessed 28 April 2015].

MONOCLE. (2014). Advertising Rates 2014 [online]. London: Monocle. Available at: http://www.gujmedia.com/uploads/tx_ hngujmediasales/pdfs/Monocle_Rate_Card_2014__EUR_.pdf [Accessed: 10 May 2015].

TRANSPARENCY INTERNATIONAL. (2014). Corruption Perceptions Index 2014 [online]. Berlin: Transparency International.

Available at: http://www.transparency.org/cpi2014 [Accessed 24 March 2015].

UNITED NATIONS HUMAN SETTLEMENTS PROGRAMME. (2012). State of the World’s Cities Report 2012/2013: Prosperity of Cities [online]. Available at: https://sustainabledevelopment.un.org/content/documents/745habitat.pdf [Accessed 24 March 2015].

U.S. ENERGY INFORMATION ADMINISTRATION. (2014). Azerbaijan [online]. Washington D.C.: U.S. Energy Information Administration. Available at: http://www.eia.gov/countries/analysisbriefs/Azerbaijan/azerbaijan.pdf [Accessed 25 March 2015].

WEBSITES KHAZAR ISLANDS. (N.D.) New way of life: community [online]. Baku: Avesta Concern. Available at: http://khazarislands.com/ [Accessed 29 April 2015].

THE HERITAGE FOUNDATION. (2015). 2015 Index of Economic Freedom [online]. Washington D.C.: The Heritage Foundation.

Available at: http://www.heritage.org/index/ranking [Accessed 28 April 2015].

UNDISCOVERED TOURS. (N.D.) Azerbaijan – land of fire: Dossier [online]. North Tyneside: Undiscovered Tours. Available at: http://www.undiscovered-destinations.com/holidays-guided-tours/azerbaijan/ALF/dossier.html [Accessed 1 May 2015].

UNITED NATIONS DEVELOPMENT PROGRAMME. (N.D.) Table 1: Human Development Index and its components [online].

New York: United Nations Human Development Programme. Available at: http://hdr.undp.org/en/content/table-1-humandevelopment-index-and-its-components [Accessed 28 April 2015].

UNITED NATIONS DEVELOPMENT PROGRAMME. (N.D.) Table 2: Human Development Index trends, 1980-2013 [online].

New York: United Nations Human Development Programme. Available at: http://hdr.undp.org/en/content/table-2-humandevelopment-index-trends-1980-2013 [Accessed 28 April 2015].

AUDIOVISUAL Reportage: Baku, Azerbaijan (2010). [Documentary]. Monocle, September 2010. Available at: http://monocle.com/film/affairs/ baku/ [Accessed 1 May 2015].

93

BIBLIOGRAPHY BOOKS ALLISON, R., ed. (1996). Challenges for the Former Soviet South. Washington, D.C.: Brookings Institution Press.

BERGSTROM, B. (2008). Essentials of Visual Communication. London: Laurence King.

DAWSON, P. (2013). The Field Guide to Typography: typefaces in the urban landscape. London: Thames and Hudson.

ERICKSON, G., ed. (2015). 1295 Days. Baku: YARAT. HESS, J. and PASZTOREK, S. (2010). Graphic Design for Fashion. London: Laurence King.

TSALIK, S. (2003). Caspian Oil Windfalls: who will benefit? New York: Open Society Institute.

CONFERENCES/LECTURES HUGHES, M. (2014). Marketing Communications, 17 November 2014. Nottingham: Nottingham Trent University.

LS:N Global. (2014). Luxury Futures Forum 2014, 5 November 2014, London.

MAGAZINES HIMELFARB, E. (2014). Arts on Fire. Fairmont Magazine, Volume 9, Number 1, p.37-42.

MOLLISON, J. (2015). States of Play, Telegraph Magazine, 25 April, p.24-31.

RASA, T. (2015). Nina Mahdavi. Baku, Spring, p.176.

SWENGLEY, N. (2015). Chic-O-Latino. How to Spend It, 18 April, p.72-75.

NEWSPAPERS JENKINS, S. (2015). Failing Cost of Solar Offers Solace After Halving of Oil Price. Financial Times, 31 March, p.4-5.

KERR, S. (2015). Political Turmoil and Economic Slowdown End Boom Years. Financial Times, 31 March, p.2-3.

URE-SMITH, J. (2015). Politics Comes First. FT Weekend, 25/26 April, p.15.

DATABASES MINTEL. (2015). Beach Holidays – UK January 2015 [online]. Available via: Mintel [Accessed 27 April 2015].

MINTEL. (2015). Holiday Review – UK March 2015 [online]. Available via: Mintel [Accessed 27 April 2015].

MINTEL. (2015). Package vs. Independent Holidays – UK April 2015 [online]. Available via: Mintel [Accessed 27 April 2015].

EXHIBITIONS DESIGN MUSEUM. (2015). Designs of the Year 2015. London: Design Museum.

METRIC DESIGN, TØNNESSEN, T., and SNØHETTA DESIGN. (2015). Banknote Design for Norges Bank [digital graphic].

Design Museum, London.

WEB ARTICLES ANON. (2008). After The Party: What happens when the Olympics leave town. The Independent [online]. 19 August. Available at: http://www.independent.co.uk/sport/olympics/after-the-party-what-happens-when-the-olympics-leave-town-901629.html [Accessed 28 April 2015].

ANON. (2013). Barcelona, a global brand that sells. Fira News [online]. March. Available at: http://fira-news.com/en/marcabarcelona/ [Accessed: 28 April 2015].

ANON. (2014). Designs of the Year prize “about architecture rather than politics” says Design Museum director. Dezeen [online]. 2 July. Available at: http://www.dezeen.com/2014/07/02/ design-museum-designs-of-the-year-prize-zaha-hadid-heydar-aliyev-centre-azerbaijan/ [Accessed 28 April 2015].

ANTIDZE, M., and EVGRASHINA, L. (2012). Azerbaijan aims to put up world’s tallest building. Reuters [online]. 11 April.

Available at: http://in.reuters.com/article/2012/04/11/azerbaijan-islands-idINDEE83A0HR20120411 [Accessed 28 April 2015].

BBC MONITORING. (2015). Azerbaijan Profile – Overview. BBC News [online]. 2 April. Available at: http://www.bbc.co.uk/ news/world-europe-17043424 [Accessed 12 April 2015].

COLDWELL, W. (2014a). Norway’s new passport – already a design classic? The Guardian [online]. 17 November. Available at: http://www.theguardian.com/travel/2014/nov/17/norway-new-passport-design [Accessed 29 April 2015].

DE PURY, S. (N.D.) Leyla Aliyeva. Interview [online]. Available at: http://www.interviewmagazine.com/art/leyla-aliyeva/ [Accessed 24 March 2015].

GIBSON, O. (2014b). Turning black gold into sporting glitter: what Azerbaijan tells us about modern sport. The Guardian [online].

19 December. Available at: http://www.theguardian.com/sport/2014/dec/19/black-gold-sporting-glitter-azerbaijan-modernsport [Accessed 17 April 2015].

KLINGELFUSS, J. (2014). MegaFaces: Architect Asif Khan’s kinetic façade for the Sochi 2014 Winter Olympics. Wallpaper [online]. 11 February. Available at: http://www.wallpaper.com/architecture/megafaces-architect-asif-khans-kinetic-faade-for-the94

CULTURAL CAPITAL

sochi-2014-winter-olympics/7184 [Accessed: 5 May 2015].

LEVINE, J. (2012). Big in Baku. New York Times [online]. 15 August. Available at: http://www.nytimes.com/2012/08/15/tmagazine/big-in-baku.html?_r=2 [Accessed 24 March 2015].

MARTIN, E. (2010). Residents hit boiling point at the eco tower where turbines don’t turn. London Evening Standard [online].

17 August. Available at: http://www.standard.co.uk/news/residents-hit-boiling-point-at-the-eco-tower-where-turbines-dontturn-6503753.html [Accessed: 10 May 2015].

PITHERS, E. (2011). Condé Nast launches new magazine about Azerbaijan. Telegraph Fashion [online]. 13 October. Available at: http://fashion.telegraph.co.uk/news-features/TMG8824318/Conde-Nast-launches-new-magazine-about-Azerbaijan.html [Accessed 19 March 2015].

STEVENS, P. (2014a). Waterbank Campus by PITCHAfrica Harvests Precious Rainfall. Designboom [online]. 12 August. Available at: http://www.designboom.com/architecture/pitch-africa-waterbank-campus-kenya-08-12-2014/ [Accessed 5 May 2015].

STEVENS, P. (2014b). Vo Trong Nghia Architects Stacks House for Trees in Vietnam. Designboom [online]. 19 June. Available at: http://www.designboom.com/architecture/vo-trong-nghia-architects-house-for-trees-vietnam-06-19-2014/ [Accessed 5 May 2015].

TAYLOR, A. (2012). How the Olympic games changed Barcelona forever. Business Insider [online]. 26 July. Available at: http:// www.businessinsider.com/how-the-olympic-games-changed-barcelona-forever-2012-7?IR=T [Accessed 28 April 2015].

TODERIAN, B. (2012). Six ideas every city should steal from Barcelona. Citylab [online]. 30 November. Available at: http://www. citylab.com/design/2012/11/6-ideas-every-city-should-steal-barcelona/3998/ [Accessed 28 April 2015].

TREANOR, S. (2014). How Norway has avoided the ‘curse of oil.’ BBC News [online]. 27 August. Available at: http://www.bbc. co.uk/news/business-28882312 [Accessed 29 April 2015].

YOUNG, R. (2014). Azerbaijan’s Edge in the Caucasus. Business of Fashion [online]. 12 March. Available at: http://www. businessoffashion.com/2014/03/market-gps-azerbaijans-edge-caucasus.html [Accessed 24 March 2015].

REPORTS A.T. KEARNEY. (2014). The 2014 Global Retail Development Index [online]. Chicago: A.T. Kearney. Available at: http://www. atkearney.co.uk/documents/10192/4600212/Full+Steam+Ahead+for+Global+Retailers-+2014+Global+Retail+Development+ In....pdf/6f55a59b-e855-4236-96cb-464c2ca01e91 [Accessed 28 April 2015].

BELLOSO, J. (2011). The City Branding of Barcelona: a success story? [online]. Barcelona: Futureplaces. Available at: http://cor.europa. eu/en/events/europcom/Documents/Belloso.pdf [Accessed 28 April 2015].

BRUNET, F. (2002). The Economic Impact of the Barcelona Olympic Games, 1986-2004 [online]. Barcelona: Centre d’Estudis Olímpics UAB, Planeta, Ajuntament de Barcelona. Available at: http://olympicstudies.uab.es/pdf/wp084_eng.pdf [Accessed 28 April 2015].

INTERNATIONAL OLYMPIC COMMITTEE. (2013). Factsheet: Legacies of the Games [online]. Lausanne: International Olympic Committee. Available at: http://www.olympic.org/Documents/Reference_documents_Factsheets/Legacy.pdf [Accessed 28 April 2015].

MONOCLE. (2014). Advertising Rates 2014 [online]. London: Monocle. Available at: http://www.gujmedia.com/uploads/tx_ hngujmediasales/pdfs/Monocle_Rate_Card_2014__EUR_.pdf [Accessed: 10 May 2015].

TRANSPARENCY INTERNATIONAL. (2014). Corruption Perceptions Index 2014 [online]. Berlin: Transparency International.

Available at: http://www.transparency.org/cpi2014 [Accessed 24 March 2015].

UNITED NATIONS HUMAN SETTLEMENTS PROGRAMME. (2012). State of the World’s Cities Report 2012/2013: Prosperity of Cities [online]. Available at: https://sustainabledevelopment.un.org/content/documents/745habitat.pdf [Accessed 24 March 2015].

U.S. ENERGY INFORMATION ADMINISTRATION. (2014). Azerbaijan [online]. Washington D.C.: U.S. Energy Information Administration. Available at: http://www.eia.gov/countries/analysisbriefs/Azerbaijan/azerbaijan.pdf [Accessed 25 March 2015].

WEBSITES KHAZAR ISLANDS. (N.D.) New way of life: community [online]. Baku: Avesta Concern. Available at: http://khazarislands.com/ [Accessed 29 April 2015].

THE HERITAGE FOUNDATION. (2015). 2015 Index of Economic Freedom [online]. Washington D.C.: The Heritage Foundation.

Available at: http://www.heritage.org/index/ranking [Accessed 28 April 2015].

UNDISCOVERED TOURS. (N.D.) Azerbaijan – land of fire: Dossier [online]. North Tyneside: Undiscovered Tours. Available at: http://www.undiscovered-destinations.com/holidays-guided-tours/azerbaijan/ALF/dossier.html [Accessed 1 May 2015].

UNITED NATIONS DEVELOPMENT PROGRAMME. (N.D.) Table 1: Human Development Index and its components [online].

New York: United Nations Human Development Programme. Available at: http://hdr.undp.org/en/content/table-1-humandevelopment-index-and-its-components [Accessed 28 April 2015].

UNITED NATIONS DEVELOPMENT PROGRAMME. (N.D.) Table 2: Human Development Index trends, 1980-2013 [online].

New York: United Nations Human Development Programme. Available at: http://hdr.undp.org/en/content/table-2-humandevelopment-index-trends-1980-2013 [Accessed 28 April 2015].

AUDIOVISUAL Reportage: Baku, Azerbaijan (2010). [Documentary]. Monocle, September 2010. Available at: http://monocle.com/film/affairs/ baku/ [Accessed 1 May 2015].

95

LIST OF ILLUSTRATIONS FIGURE 1: OWN IMAGE. (2015). Heydar Aliyev International Airport [photograph].

FIGURE 2: OWN IMAGE. (2015). Crystal Hall [photograph].

FIGURE 3: OWN IMAGE. (2015). Interiors of Heydar Aliyev International Airport [photograph].

FIGURE 4: OWN IMAGE. (2015). Interiors of Heydar Aliyev International Airport [photograph].

FIGURE 5: OWN IMAGE. (2015). Interiors of Heydar Aliyev International Airport with European Games banners [photograph].

FIGURE 6: OWN IMAGE. (2015). European Games clock [photograph].

FIGURE 7: OWN IMAGE. (2015). Flame Towers [photograph].

FIGURE 8: OWN IMAGE. (2015). Barcelovers Issue Two [photograph].

FIGURE 9: OWN IMAGE. (2015). Khazar Islands Billboard [photograph].

FIGURE 10: OWN IMAGE. (2015). Threads installation (2012) by Faig Ahmed exhibited at Yarat Contemporary Art Space [photograph].

FIGURE 11: OWN IMAGE. (2015). Candy flag sculpture (2014) by Laurence Jenkell outside the Heydar Aliyev Centre [photograph].

FIGURE 12: OWN IMAGE. (2015). Paint brush bouquet in Old City [photograph].

FIGURE 13: OWN IMAGE. (2015). Detail from Emporium carrier bag [photograph].

FIGURE 14: OWN IMAGE. (2015). Painting by Ali Ibadullayev exhibited at the Museum of Modern Art [photograph].

FIGURE 15: OWN IMAGE. (2015). On the Way Home by the Sea installation (2014) by founder Aida Mahmudova at Yarat Contemporary Art Space [photograph].

FIGURE 16: OWN IMAGE. (2015). Artwork by Farkhad Farzaliyev as part of the Granny’s Vocabulary Series (2014) exhibited at YAY Gallery [photograph].

FIGURE 17: OWN IMAGE. (2015). Interior of the Museum of Modern Art [photograph].

FIGURE 18: OWN IMAGE. (2015). Exterior of Yarat Contemporary Art Space [photograph].

FIGURE 19: OWN IMAGE. (2015). Isolation Room project (2015) by Yarat in Port Baku Mall [photograph].

FIGURE 20: OWN IMAGE. (2015). Farhad Khalilov exhibition at the Saatchi Gallery as part of the Buta Arts Festival 2014 [photograph].

FIGURE 21: OWN IMAGE. (2015). Selection of publications acquired in Baku. From top to bottom: Baku Magazine (English version), Baku Magazine (Russian version), Nargis Magazine, 1295 Days book by Yarat Organisation and YAY Gallery catalogue [photograph].

FIGURE 22: OWN IMAGE. (2015). Artwork by Farkhad Farzaliyev as part of the Granny’s Vocabulary Series (2014) exhibited at YAY Gallery [photograph].

FIGURE 23: OWN IMAGE. (2015). Azerbaijan Carpet Museum [photograph].

FIGURE 24: OWN IMAGE. (2015). Infographic based on survey results of holiday priorities [infographic].

FIGURE 25: OWN IMAGE. (2015). Infographic based on survey results and image used for Baku holiday question [infographic].

FIGURE 26: BUTALAB. (2014). Buta Festival artwork [graphic banner]. Buta Festival. Available at: http://www.butafestival. com/2015/wp-content/uploads/2015/01/salam-key.jpg [Accessed: 10 May 2015].

FIGURE 27: OWN IMAGE. (2015). Infographic to survey result for holiday art scene question [infographic].

FIGURE 28: OWN IMAGE. (2015). Stills from Visit Azerbaijan television commercial [photograph].

FIGURE 29: OWN IMAGE. (2015). Cartogram to visualise Azerbaijani culture [photograph].

FIGURE 30: OWN IMAGE. (2015). Screenshot of azerbaijan.travel homepage [photograph].

FIGURE 31: OWN IMAGE. (2015). Screenshot of visitnorway.com homepage [photograph].

FIGURE 32: OWN IMAGE. (2015). Screenshot of iamsterdam.com homepage [photograph].

FIGURE 33: OWN IMAGE. (2015). Screenshot of meet.barcelona.com homepage [photograph].

FIGURE 34: OWN IMAGE. (2015). Moodboard of travel booking websites [graphic].

FIGURE 35: NEUE. (2014). Proposed Norwegian passport design [graphic]. The Guardian. Available at: http://i.guim.co.uk/static/w700/h--/q-95/sys-images/Guardian/Pix/pictures/2014/11/17/1416246509687/b988b6aa-94f3-41cb-9e4c-323bf4528f9f1020x730.jpeg [Accessed: 10 May 2015] FIGURE 36: OWN IMAGE. (2015). Proposed Norwegian banknote design by Metric Design, T. Tønnessen and Snøhetta Design for Norges Bank exhibited at Designs of the Year 2015 [photograph].

FIGURE 37: OWN IMAGE. (2015). Consumer moodboard for the Occupational Trailblazer [graphic].

FIGURE 38: BYERS, A. (2014). Filming DJ MK at Hideout Festival 2014 [photograph].

FIGURE 39: OWN IMAGE. (2015). Consumer moodboard for the Discerning Drifter [graphic].

FIGURE 40: OWN IMAGE. (2015). Consumer moodboard for the Bucket-list Excursionist [graphic].

FIGURE 41: OWN IMAGE. (2015). Brownbook Issue 49 and its pull-outs [photograph].

FIGURE 42: OWN IMAGE. (2015). Logo design for Discover Baku [graphic].

96

CULTURAL CAPITAL

FIGURE 43: OWN IMAGE. (2015). Discover Baku homepage mock-ups for desktop and tablet [graphic mock-up].

FIGURE 44: OWN IMAGE. (2015). Discover Baku homepage with drop down menu [graphic mock-up].

FIGURE 45: OWN IMAGE. (2015). Discover Baku art page [graphic mock-up].

FIGURE 46: OWN IMAGE. (2015). Discover Baku booking page [graphic mock-up].

FIGURE 47: OWN IMAGE. (2015). Discover Baku hotel selection page [graphic mock-up].

FIGURE 48: OWN IMAGE. (2015). Little Book of Baku cover mock up received as part of postal pack [graphic mock-up].

FIGURE 49: OWN IMAGE. (2015). Little Book of Baku mock-up features [graphic mock-up].

FIGURE 50: OWN IMAGE. (2015). Tourist centre mock-ups [graphic mock-up].

FIGURE 51: HUFTON AND CROW. (2014). MegaFaces installation [photograph]. Asif Khan. Available at: http://www.asif-khan. com/wordpress/wp-content/uploads/2014/05/Asif_Khan_MegaFaces_Sochi_2014_003-1280x853.jpg [Accessed: 10 May 2015].

FIGURE 52: OKI, H. (2014). House for Trees [photograph]. Vo Trong Nghia. Available at: http://votrongnghia.com/wp-content/ uploads/2014/04/HFT-6.jpg [Accessed: 10 May 2015].

FIGURE 53: PITCHKENYA. (2015). Waterbank Campus [photograph]. Waterbanks.org. Available at: http://waterbanks.org/wpcontent/uploads/2014/08/WATERBANK-Campus_PITCHKenya_-under-construction.jpg [Accessed: 10 May 2015].

FIGURE 54: OWN IMAGE. (2015). Discover Baku Advert in Monocle mock-up [photographic mock-up].

FIGURE 55: OWN IMAGE. (2015). Discover Baku ad in Skyscanner mock-up [graphic mock-up].

FIGURE 56: OWN IMAGE. (2015). Discover Baku art print advert mock-up [graphic mock-up].

FIGURE 57: OWN IMAGE. (2015). Discover Baku cuisine print advert mock-up [graphic mock-up].

FIGURE 58: OWN IMAGE. (2015). Discover Baku architecture print advert mock-up [graphic mock-up].

FIGURE 59: OWN IMAGE. (2015). Discover Baku history print advert mock-up [graphic mock-up].

FIGURE 60: OWN IMAGE. (2015). Discover Baku nature print advert mock-up [graphic mock-up].

FIGURE 61: OWN IMAGE. (2015). Discover Baku main print advert mock-up [graphic mock-up].

FIGURE 62: OWN IMAGE. (2015). Discover Baku main print advert mock-up double page version [graphic mock-up].

FIGURE 63: OWN IMAGE. (2015). Discover Baku logo two types [graphic].

FIGURE 64: ANON. (N.D). Colourful oil spill [photograph]. Resources for the Future. Available at: http://www.rff.org/News/ Features/Pages/Who-Bears-the-Long-Term-Costs-of-Stricter-Anti-Spill-Policy.aspx [Accessed: 10 May 2015].

FIGURE 65: OWN IMAGE. (2015). Baku cityscape [photograph].

COVER IMAGE: OWN IMAGE. (2015). Baku cityscape infiltrated by colourful oil [photograph].

97

98

CULTURAL CAPITAL

99

100