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Brandscaping ...................

............ Guerrilla Marketing

................... Urban Center

............ Temporary Pavilions

......... The Barcelona Pavilion

............ The Living Pavilion

............ Florence as a brand

..................... FLORENCity

from an apple… …to THE apple

BRAND: A brand is a name, design, symbol,

that distinguishes the goods or services

of Sone seller from those of competitors

through the application of an added value.

from Design-Dictionary

« B r a n d i s t h e p e r s o n a l i t y t h a t

i d e n t i f i e s t h e p r o d u c t »

BRANDING: It’s the process of the

development of the brand; which aim

consists in the establlishment and

construction of the image of the brand in

the mind of the consumer. In today’s

oversatured and increasingly complex

markets, consumers can often feel

overwhelmed; with the branding activity a

brand provides the consumers a consistent

point of reference.

from Design-Dictionary

BRANDSCAPING: It’s the process of giving

an identity, a personality to a project

starting from the characteristics, the

traditions, the resources already present

in the place (*inside-out method). It’s

the process of creating a net of

relations, events and people that will

increase the value of the place.

BRANDISM: It’s the branding process

referred to architecture; with the aim of

creating and improving the identity of a

place. It’s a way to put the beauty and

utility toghether (as Renzo Piano said) in

order to create a personality to the

designed product. With «utility» here we

mean focusing on cultural and

characteristic elements of the location to

enhance the power and the growth of the

area itself.

« B r a n d i s m i s t h e p e r s o n a l i t y t h a t

i d e n t i f i e s t h e a r c h i t e c t u r e »

It’s a set of techniques used to

communicate a message in an

unconventional way, with the purpose of

obtaining the maximun visibility with

the minimum effort.

How: There is not a general rule to

communicate those messages. It depends

on the idea that has to be

communicated.

Emotions at first:

surprise, astonishment, curiosity,

amusement, attraction, interest

and so on.

« A c o n f l i c t i s n o t a p r o d u c t

b u t a p r o d u c t

i t ’ s a l m o s t a m a t t e r o f c o n f l i c t »

It can be used by brands to promote

their products creating expectation and

curiosity around that product.

Nikon camera. Interactive advertisement

KitKat. Bench at a bus

stop

Killah clothes. Distributing clothangers

near the shop

It can be used by people to sell their

services

The african edition of Commercial

Trader, magazine specialized in the

industrial and farmer equipments,

excluded from the NAMPO Agricultural

Trade Show, a 35,000 visitor event,

located in front of all the B&B near

to the area a carpet with a tractor.

The trimmed part contained a short

message «Your number one resource for

harvesting», with a phone contact.

Brilliant and concise!

It can be

used to

sensitize

people on

problems of

social

importance

«Mothers

against drunk

driving»

campaing.

Posted in

toilets of

disco clubs

http://www.youtube.com/watch?v=OLj5zphusLw

20-04-2009 9,00am

100 Single Ladies stop traffic with

Beyonce's famous leggy dance in Piccadilly

Circus, to celebrate the

announcement by Trident of its free

Beyonce gig in November.

http://www.youtube.com/watch?v=snWiKV3uhL4

&feature=player_embedded

The supermodel Gisele plays this flashmob

in the internatioinal airport of Sao

Paulo, to advertise the choice of

channels of Sky.

The role of urban centers in the last

few years has shown to be more and more

important in the city life. It has come

to be clearer every day the pushing

desire of the population in taking part

in social life of their environment and

not only. Nowadays the vision of the

city as a contrast between

public/private dimensions it’s almost

outdated; by here comes the

proliferation of an extraordinary

number of people interested in social

activities and in places where to meet

up and rise their voices.

« N e w s e a s o n o f

p a r t e c i p a t i v e i n t e r a c t i o n i n c i t y

a n d s o c i a l t r a n s f o r m a t i o n s »

What Architecture can do to satisfy

this increasing need of assemble and

actively partecipate?

Projecting, promoting and developing

privileged spaces, promoters of

innovation and culture

Key points characterising the

architecture of an Urban Center:

Recognability

Presence in the territory

Physical and virtual base

Adaptability

Easy access

Sustainability

Innovation

Renovation

« U r b a n c e n t e r s p r o v i d e a s e t f o r

n e w d e b a t e o p p o r t u n i t i e s a n d

m o r e e f f e c t i v e d i a l o g u e t o o l s »

Distribution and diffusion of urban

centers in Europe:

1975-Oslo-Architekturmuseet

1980-Bordeaux-Arc en Reue Centre

d’Architecture

1986-Amsterdam-Arcam Architectuurcentrum

1988-Paris-Pavilion de l’Arsenal

1993-rotterdam-NAI Building

1933-Wien-Architekturzentrum

1999-Nice-Forum d’Urbanisme et

d’Architecture

2001-Milan-Urban Center

2001-Turin-Atrium

2003-Bologna-E.Bo

Opening date: In 1986 the Center for

Architecture in Amsterdam was housed in a

17th century warehouse near the Academy of

Architecture in Waterloo.

In the fall of 2003 the new headquarters

were inaugurated located in a Amstelstraat

specially designed new building,

near many cultural institutions.

Layout of functions: The new building has three

floors connected by a large empty space.

The offices are located on the top floor.

The lower floor is for meeting places and

receipt for school groups.

The ground floor is occupied by Amstelstraat

exhibition and information center.

Activities: Arcam has the goal of informing

and educating citizens to problems

of contemporary urbanism and architecture.

It organizes:

a) temporary exhibitions of plans and

projects

b) permanent information point for citizens

and tourists on modern and contemporary

city

c) guide book and digital apps* for modern

and contemporary architecture in Amsterdam

d) guided tours, educational activities and

outreach on issues of urban transformations

and modern architecture

e) publication of information material

Architecture app UAR* Together with the Amsterdam Centre for

Architecture ARCAM, the Netherlands

Architecture Institute launched the

Amsterdam edition of the free 3D

architecture application UAR (Urban

Augmented Reality).

UAR provides information, by means of

texts, images, archive material and

films, about the built environment on

your mobile phone. What is unique is

that, by means of augmented reality,

this application enables you to see in

3D what the city will look like in the

future, what it used to look like and

what it might have looked like. Due to

the addition of advanced 3D models,

made by DPI Animation House, it is

possible to see ‘what is not there’.

For example, the old Ajax stadium De

Meer, an alternative design for the

Rijksmuseum and the new film museum can

be viewed in all its glory by means of

UAR. Amsterdam is the first city after

Rotterdam to be included in the

application

http://www.arcam.nl/algemeen/592_uk.html

One of the many effects of the

world recession and economic

problems is the decline of the

attitude in creating grandiose,

long-lasting buildings. So that,

a wave of new temporary

buildings and architectural is

sweeping all over the planet.

These can have uses from

emergency relief to concert or

performance venues, to the

exhibition of fair design, to

show new trends in fashion,

jewelry or design, to host

social initiatives and so on. As

the world run so fast in the

last decades it’s funny to see

how architecture have found a

way to keep up with the times.

This new dynamic architecture

reflects the fleeting and

ephemeral side of our globalized

and co mm e rci ali ze d li fe.

Zaha Hadid – Burnham Pavilion, Chicago 2009

Daniel Libeskind – Serpentine Gallery 2001

Toyo Ito– Serpentine Gallery 2002

Boxel Pavilion – Detmold School,

Germany 2010

Mies Van der Rohe The Barcelona Pavilion, 1929


In the years following World War I, Germany

started to turn around. The pavilion for the

Universal Exhibition was supposed to represent

the new Weimar Germany: democratic, culturally

progressive, prospering, and thoroughly

pacifist; a self-portrait through architecture.

The Commissioner, Georg von Schnitzler said it

should give "voice to the spirit of a new era".

This concept was carried out with the

realization of the "free plan" and the

"floating room“.

The Barcelona Pavilion, designed by Ludwig

Mies van der Rohe, was the German Pavilion

for the “1929 International Exposition in

Barcelona” Spain. This building was used for

the official opening of the German section of

the exhibition. It was an important building

in the history of modern architecture, known

for its simple, open space form, for

extravagant materials, and for the designed

furniture.


Because this was planned as an exhibition

pavilion, it was intended to exist only

temporarily. The building was torn down in

early 1930, not even a year after it was

completed. As time went by, it became a key

point of reference not only in Mies van der

Rohe's own career but also in twentieth-

century architecture as a whole. In 1980

Oriol Bohigas, as head of the Urban Planning

Department at the Barcelona City Council,

set the project in motion, designating a

group of to research, design and supervise

the reconstruction of the Pavilion. Thanks

to black-and-white photos and original

plans, they managed to do that. Work began

in 1983 and the new building was opened on

its original site in 1986.


Mies's response to the proposal by von

Schnitzler was radical. The pavilion was going

to be bare, no trade exhibits, just the

structure accompanying a single sculpture and

purpose-designed furniture. This lack of

accommodation enabled Mies to treat the

Pavilion as a continuous space; blurring

inside and outside. "The design was predicated

on an absolute distinction between structure

and enclosure —a regular grid of cruciform

steel columns interspersed by freely spaced

planes".

Mies wanted this building to become "an ideal

zone of tranquillity" for the weary visitor,

who should be invited into the pavilion on the

way to the next attraction. Since the pavilion

lacked a real exhibition space, the building

itself was to become the exhibit. The pavilion

was designed to "block" any passage through

the site, rather, one would have to go through

the building. Visitors would enter by going up

a few stairs, and due to the slightly sloped

site, would leave at ground level in the

direction of the "Spanish Village". The

visitors were not meant to be led in a

straight line through the building, but to

take continuous turnabouts. The walls not only

created space, but also directed visitor's

movements. This was achieved by wall surfaces

being displaced against each other, running

past each other, and creating a space that

became narrower or wider.

The floor plan is very simple. The entire

building rests on a plinth of travertine. A

southern U-shaped enclosure, also of

travertine, helps form a service annex and a

large water basin. The floor slabs of the

pavilion project out and over the pool—once

again connecting inside and out. Another U-

shaped wall on the opposite side of the site

also forms a smaller water basin. This is

where the statue by Georg Kolbe sits(*). The

roof plates, relatively small, are supported

by the chrome-clad, cruciform columns. This

gives the impression of a hovering roof.

Robin Evans said that the reflective columns

appear to be struggling to hold the

"floating" roof plane down, not to be

bearing its weight.


Mies van der Rohe's originality in the use

of materials lay not so much in novelty as

in the ideal of modernity they expressed

through the rigour of their geometry, the

precision of the pieces and the clarity of

their assembly.


Another unique feature of this bulding is

the exotic materials Mies chooses to use.

Glass, steel and four different kinds of

marble (Roman travertine, green Alpine

marble, ancient green marble from Greece

golden onyx from the Atlas Mountains).


The Barcelona chair Mies van der Rohe designed a chair,

especially for the Pavilion, consisting of a

leatherupholstered metallic profile that

over the years has become an icon of modern

design. To such an extent, in fact, that the

Barcelona chair is still manufactured and

marketed today.


Georg Kolbe's sculpture The sculpture is a bronze reproduction of

the piece entitled Alba (Dawn) by Georg

Kolbe, a contemporary of Mies van der

Rohe's. Masterfully placed at one end of the

small pond, the sculpture is reflected not

only in the water but also in the marble and

glass, thereby creating the sensation that

it is multiplied in space, while its curves

contrast with the geometrical purity of the

building.

The Living Pavilion Behin+HA Governor’s Island, New York 2010

Living Pavilion is “low-tech, low-impact”

architectural installation, consisting

almost entirely of milk crates and natural

flora. Similar a green wall, the plants

were inserted into the milk crates to

provide a “synthesis of form, structure,

light and life”, composed mainly of hanging

plants shade tolerant. Because of its

technical ingenious construction,

installation can be easily removed as the

summer winds down and the milk crates

planted divided between New York City.


Regarding the construction process, Behin

Ha explain: “CNC routing plywood ribs

allowed us to incorporate features that

have recorded all the parts in the

assembly, thus eliminating all time

measurements manual alignment and

accelerate the process of assembling”.


The structure is made by plywood ribs

comprised of two layers fastened and glued

weather-treated with single coat water

seal. On both sides of the ribs are

attached PVC spacers which provides

standoff at attachment points between the

rib and the crates. The foundations are

made of pressure-treater lumber.

Among the rib structure are included 460 milk

crates used as planters for a specific shade

tolerent species of plant called Liriope

(2500 exemplaries). The top side of the

crates is planted with grass seeds that helps

keep the roots of the liriope shaded and

cool. Some milk crates are left unplanted on

the south side of the structure to serve as

„light pockets‟ that allow small amounts of

light to trickle into the pavilion. Milk

crates are purchased from Admar Plastics, a

company that manufactures and uses up to 15–

20% re-processed resin from old crates that

were bought back from previous customers.


“Not only the act of building proactive

lead members of the local community with a

common goal, but the design itself, seeks

to embody and communicate the ethics of

reuse, recycling and re-purposing,

educating members of the public passing

quietly on the ease and accessibility of

sustainable design”.

The large planted surface area stimulates

evapotranspiration, which helps keep

visitors nice and cool. The designers

considered the full life-cycle of the

project by making sure every step impacts

the environment as little as possible.

From the preparation of the milk crates

that involved the whole student‟s body, to

the transportation and assembly; one of

the students run an apposite blog on the

web to keep the pubic updated on every

step of the construction. There were also

made announcements to ask people to take

part actively in the assembly and

disassembly of the structure.

Dany‟s Blog:

http://builtecology.blogspot.com/2010/05/l

iving-pavilion-dispatch-1.html


« W h a t F l o r e n c e i s , f o r M E »

It can be used by brands to promote their products

creating expectation and curiosity around that product.


HISTORY

PROPORTIONS

BEAUTIFULNESS

Killah clothes. Distributing clothangers near the shop

« W h a t F l o r e n c e i s N O T, f o r M E »

CONTEMPORANEITY

INNOVATION

PARTICIPATION

...And he «creates» the city as we know it

today.

1865

Florence becomes the capital city of Italy

Giuseppe Poggi has the mission of creating

a new image for the city.

More modern, more appropriate.

He decides to create the new living

artherias of the city, the boulevards, on

the traces of the old walls of the city

built in 1282, almost six century before,

but still vital for the city...

« W h a t F l o r e n c e s h o u l d D O ,

f o r M E »

C r e a t e a n e w i m a g e

o f F l o r e n c e t h a t

w i l l c o n t r i b u t e t o

t h e c o n s t r u c t i o n o f

a c h a n g i n g

e n v i r o n m e n t t h a t

b e t t e r r e s p o n d t o

t h e c o n t e m p o r a r y

l i f e s t y l e o f o u r

d e l o c a l i z e d s o c i e t y

H o w :

u s i n g o u r h i s t o r y

w i t h a n e w l a n g u a g e .

T h e l a n g u a g e o f t h e w o r l d

i d e n t

FL

OR

EN

C

E it

y


WHY

Killah clothes. Distributing clothangers near the shop

Florence today needs a new incentive

to approach to the future. It lacks

in innovative structures, which are

already very popular all ove Europe,

that contribute to the creation of a

more globalized image of the city.

More involved and involving. Thhis

kind of structures are URBAN CENTERS.

WHAT

MEETING area

WORKSHOP area

What’s up? Led TV wall

COMUNICATION

PARTICIPATION

INFORMATION

HOW

THE LEGO PROJECT MANAGEMENT METHOD

“Rule number one for a project

manager is break everything down,

organize, order the pieces, and

plan how to put them together to

accomplish the end goal”

COMUNICATION

A big area assigned to host:

EXHIBITIONS

CITIZEN REUNIONS

DEBATES

CONVENTIONS

PERFORMANCED

MEETING area

Open space zone equipped with:

MOVABLE DIVIDERS

PLIABLE SEATS

WALL MONITORS

PARTICIPATION

Another big area assigned to

develop:

PROJECTS

SOCIAL INITIATIVES

EXPERIMENTS

WORKSHOP area

A laboratory where:

Projecting things with recycled

materials and innovative

procedures inviting people to

join or to suggest their own

ideas to improve the image of

Florence

INFORMATION

WHAT’s up? Led TV wall

camera 13 22 11 2011 15:57:1255

camera 22 22 11 2011 15:57:1255

camera 11 22 11 2011 15:57:1255

camera 18 22 11 2011 15:57:1255

camera 31 22 11 2011 15:57:1255

camera 02 22 11 2011 15:57:1255

camera 34 22 11 2011 15:57:1255

camera 51 22 11 2011 15:57:1255

camera 27 22 11 2011 15:57:1255

camera 19 22 11 2011 15:57:1255

camera 11 22 11 2011 15:57:1255

camera 35 22 11 2011 15:57:1255

camera 09 22 11 2011 15:57:1255

camera 03 22 11 2011 15:57:1255

camera 07 22 11 2011 15:57:1255

A whole wall covered by LED TV’s

display in REAL TIME what is

happening throughout the city.

Scattered around the city

other led tv’s show what

is happening in the

Urban Center.

Keep in touch

with the city!

The Design-Dictionary by Michael Erlhoff ........

..... http://pan.o-one.net/cafe/?tag=guerrilla-marketing

http://www.ffwdblog.it/tag/guerrilla/

....... http://www.comune.bergamo.it/upload/bergamo_ecm8

/gestionedocumentale/ricerca%20urban%20center[1]

_4802.pdf

....... http://www.taschen.com/pages/en/catalogue/archit

ecture/all/04451/facts.temporary_architecture_no

w.htm

........ http://en.wikipedia.org/wiki/Barcelona_Pavilion

http://www.miesbcn.com/en/pavilion.html

...... http://inhabitat.com/green-walled-living-pavilion-garden-sprouts-on-governors-island/

............ Images from Wikipedia and Google Maps

............ Images from Google search

http://www.linkedin.com/answers/business-

operations/project-management/OPS_PRJ/599502-1762601

http://pan.o-one.net/cafe/?tag=guerrilla-marketing






http://www.ffwdblog.it/tag/guerrilla/

http://www.comune.bergamo.it/upload/bergamo_ecm8/gestionedocumentale/ricerca urban center%5b1%5d_4802.pdf



http://www.taschen.com/pages/en/catalogue/architecture/all/04451/facts.temporary_architecture_now.htm



http://en.wikipedia.org/wiki/Barcelona_Pavilion

http://en.wikipedia.org/wiki/Barcelona_Pavilion

http://www.miesbcn.com/en/pavilion.html

http://inhabitat.com/green-walled-living-pavilion-garden-sprouts-on-governors-island/


















http://www.linkedin.com/answers/business-operations/project-management/OPS_PRJ/599502-1762601







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