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A Temporary Urban Center Facilities System to promote past and future qualities of Florence

Elenaz Anzali Mojarad

Fall 2011 Taccuino Scouting Phase

International Course Of Architectural Design

Building and Environmental Lab

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Index

4.Florence Urban Center

1. Brandscaping

2.Florence as a Brand

5.Urban Pavilion

3.Guerrilla Marketing

6.Florence in my vision

7. Alternative Sites

Florence

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Brandscaping What is Brand Architecture? Brand architecture here is the structure of brands within an organizational entity. It is the way in which the brands within a company’s portfolio are related to, and differentiated from, one another. The architecture should define the different leagues of branding within the organization; how the corporate brand and sub-brands relate to and support each other; and how the sub-brands reflect or reinforce the core purpose of the corporate brand to which they belong. According to Rajagopaland Sanchez Brand architecture may be defined as

an integrated process of brand building through establishing brand relationships among branding options in the competitive environment. The brand architecture of an organization at any time is, in large measure, a legacy of past management decisions as well as the competitive realities it faces in the market place.

When we consider ‘Brandscaping’ we often think of modern engineer marvels such as the new BMW building by Coop Himmelb(l)au you may have seen in their ads or perhaps the Mercedes equivalent designed by UNSTUDIO.

These buildings which are undoubtedly easy on the eyes are highly expensive advertising boards used to seduce us into equating the product to building. Words to describe these buildings might include, powerful, slick, dramatic, intense and gray. All words they’d like you to associate with their vehicles, maybe. In the same vein we could imagine a museum housing

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Toyotas to be square, white and low on upkeep.

Brandscaping (Towards a Unified Theory of Experiential Design) By: Philip McClenaghan

Brandscape Architecture is acknowledges the differences between Service, Transformation, Experience design and variations thereof but focuses on the similarities rather than

the differences - the common goals, activities and outcomes rather than the sector oriented anomalies. This is not to say that the specialisms are not important. Rather, it attempts to take a holistic view of this design space in order to accommodate and assimilate emergent design strands in this field regardless of their title into a generic, understandable whole.

lthough our research is still in its early stages, the results of studies so far, based on an extensive literature review coupled with market observation through direct involvement in relevant commercial projects, indicate that Brandscape Architecture can be characterized as being:

1. Concerned with generating meaningful customer experiences

2. Concerned with the emotional

3. User cantered

4. Holistic

5. Design led

6. Cross disciplinary It is acknowledged that a rigorous program of testing and evaluation is required in order to elaborate and validate these observations and it is proposed that this will form the basis of our ongoing research agenda.

BrandscapeArchitecture in the Experience Economy By: Anna Klingmann

In the new environment of brandscapes, buildings are not about where we work and live but who we imagine ourselves to be. In Brandscapes, Anna Klingmann looks critically at the controversial practice of branding by examining its benefits, and considering the damage it may do.

Klingmann argues that architecture can use the concepts and methods of branding—not as a quick-and-easy selling tool for architects but as a BANKSIDE

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strategic tool for economic and cultural transformation. Branding in rchitecture means the expression of identity.

How can architects use branding as a means to differentiate places from the inside out—and not, as current development practices seem to dictate, from the outside in? When architecture brings together ecology, economics, and social well-being to help people and places regain self-

sufficiency.Here are a few projects of Anna Klingmann:

Praha Smichov, Prague

The goal of this planning project was to reprogram a former industrial district of Prague into a vital inner-city area. In order to reconnect the site to the inner city, KL!NGMANN proposed a continuous urban landscape that treated “townscape” and “landscape” as a single, interconnected whole.

All programs on the site are sponsored by international and local brands

Adidas Skating Loop Recreation Zone

BANKSIDE Top View

Concert hall, Sarajevo

An iconic structure acts as a catalyst for economic growth, a symbol for the city, and social space.

Concept Diagram- Concerthal Sarajevo Floor Plan- Concerthal,

Exterior View- Concerthal Interior View- Concerthal,

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Catalyst Urbane

The city of Marseille wished to inspire a civic renaissance by attracting international businesses and tourists to an area defined by large blocks of abandoned warehouses, derelict residences, two high speed motorways, and an inaccessible waterfront, A strong brand identity, the design of a three dimensional public to generate a critical level of urban intensity, access to the waterfront, and a plan of phased development.

Water front, Catalyste Urbaine, Marseille

Site Plan, Catalyste Urbaine, Marseille

Shopping district- Catalyste Urbaine, Marseille

Shopping district- Catalyste Urbaine, Marseille View from Highway- Catalyste Urbaine, Marseilles

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Florence as a Brand

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Guerrilla Marketing What is Guerrilla Marketing?

Guerrilla Marketing does not have a universal definition that would describe full scale of characteristics, because this marketing area has been still developing over time and it does not have so far such long history as marketing itself. However, Guerrilla marketing may be defined as a term for non-traditional or stealth marketing campaigns. (Guerrilla Communication). The guerrilla marketing may be defined more specifically as an aggressive, highly targeted and sometimes subversive; street-level promotional campaign intended to create unexpected and memorable encounters

between a product and its consumers (Mohawk Paper Mills, Inc., 2006). Guerrilla marketers want to raise maximum of attraction – this fact is supported by definition of Guerrilla Marketing as an unconventional marketing or stunt designed to attract maximum attention (Media Smart UK, 2008).

Principle By contrasting from the various definitions of guerrilla marketing which only identifies the main elements of guerrilla communications like unexpected, drastic or cheap, the author of this research adopts definition of Guerrilla Marketing of Alexander Reidl, former marketing director of Volvo Cars Middle East. According to his thoughts there is a set of six characteristics that every guerrilla campaign has to fulfil. Not every innovate or shocking campaign means that it is guerrilla marketing campaign. Following diagram identifies the inseparable elements of guerrilla marketing campaigns and further explanation is provided after.

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Inflatable Bubbletecture Pavilion Popping Up in the UK This Summer

Dubbed Portavilion, the futuristic-looking bubble building sets up in a snap and can be easily deflated and packed up after each event, saving on the manpower and resources required to erect a standard stage.

Touring throughout London this summer, the Portavilion will host a number of events including productions by the English

National Ballet, the London Festival of Architecture, the Tate Modern and even the Royal Society of Arts. The structure consists of a van, from which an air-filled transparent membrane inflates to create a temporary space. According to the architects, “this translucent bubble can squeeze under bridges, wrap around trees or nestle into corners, providing a nomadic, inside/outside space in which people can perform debate, eat or simply hang out”.

This summer, a blow-up pavilion will be touring through various parks and green spaces all around London. The Portavilion, designed by Berlin-based art and architecture collective Raumlaborberlin, is

a portable pavilion made out of a

translucent membrane that stuffs into the back of a van. Upon arrival at their destination, the membrane is inflated and supported by air and acts as a temporary pavilion. The Portavilion will play host to a number of dynamic cultural programs, including dance programs, festivals and music events led by leading organizations like the English National Ballet, London Festival of Architecture, Tate Modern, the Roundhouse and the Royal Society of Arts.

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New York City's Underground Park By: SINDY LI

After the popularity of New York’s High Line park, which is located on an abandoned elevated railway, there is a new plan for a Low Line park. Yes, an underground park nearly the size of Gramercy Park. This time, the green transformation takes place in a dark trolley terminal below the streets of the Lower East Side that has stayed vacant for about sixty years. The initiators of Delancey Under-

Ground , the official name of the project, are three influential New York-based entrepreneurs: architect James Ramsey, Dan Barasch and R. Boykin Curry IV.

The three men took their inspiration from two friends, Joshua David and Robert Hammond, who not only took the initiative for the High Line, but also set up afoundation called Friends of the High Line, which raised the funds that made it all happen. Nevertheless, at the Low Line the initiators first have to solve several design problems related to construction and lighting. In order to get sunlight into the dark tunnels and

terminal of the new park, they came up with a reflecting system. Perhaps this visionary plan can be combined to some extent with the Underbelly Project, to draw attention of the public funders.

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Florence Urban Center What it is. Urban Center Firenze [Porta Novoli] is a permeable, transparent environment devoted to producing and circulating material on the city of Florence. It is not merely an exhibit space, but rather a structure that acts as an integrated system of communication, capable of strongly involving the public and of constantly stimulating the attention of the media. It is the very tool through which the city divulges its changes and visions to the public. The Urban Center has a specific location, but its presence is nevertheless widespread; it is like a ubiquitous structure that overlaps and adheres to the city. Urban Center Firenze [Porta Novoli] is the city itself that fully

understands its role and ascribes a social and economic value to its transformation. The future of the city tends to be defined in relation to its capacity to produce, elaborate and divulge information. Urban Center Firenze [Porta Novoli] is aware of the necessity to set up appropriate connections and

operative tools that go beyond the

construction of a specific building or the elaboration of a traditional interior design project. Its awareness of contemporary dynamics brings it to establish a permanent dialogue with other cities. .

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Urban Pavilion POD Pavilion Kuala Lumpur

PJCC – The POD Pavilion, Petaling Jaya - Kuala Lumpur, Malaysia

The area is the establishment of a new urban center which finds itself under a constant development. Studio Nicoletti Associati designed the building. The client wanted a building to represent the concept of the company and to be big enough and capable of hosting the on-site offices and sale’s showroom.

In the area of Petaling Jaya, west of Kuala Lumpur, a great urban development is under way for the establishment of a new urban centre.

In the area of Petaling Jaya, west of Kuala Lumpur, a great urban development is under way for the establishment of a new urban centre.

As a landmark for this area, the Developer wanted to host his on-site offices and sale’s showroom in an iconic pavilion that would reflect the spirit and the architectural style of the whole development.

Natural elements were combined with modern architectural designs. Water

droplets in nature was the inspiration for ‘The Pod’ pavilion structure creating a dynamic spherical form resulting in a primitive building archetype with a modern twist. Theround and soft shape of The Pod is formed as a series of elliptical sections of variable widths and heights. Slithers of windows brings natural daylight into the spaces below.

Internally the pavilion is divided into two parts: one zone is dedicated to the office area and the other contains the

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main showroom. The building appears to be sliced diagonally into a series of ribbons which wrap up and over the building creating a dynamic space within, forming a layered protective shell. The structure is fabricated from tubular steel members with the exterior skin made of spectrally reflective aluminum panels. The exterior skin color shades change’s depending on the reflection of the sun, dynamically.

Aluminum panels adorn the façade of the building and they are reflective. The structure consists of tubular steel members. Because the panels

are spectrally reflective the color of the exterior façade changes depending of the sun, making the Pod seem even more dynamic than before. Its surroundings fall into place: greenery and a water pool are found in the proximity. Even if it’s located in an urban area, nature hasn’t been forgotten.

The Pod is surrounded by a greenery with a reflective water pool wrapping around the edges that will contribute to the Bioclimatic behavior and wellness of its inhabitants.

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Metropol Parasol in Seville Designed by J. MAYER H. architects

this “Metropol Parasol” is a central courtyard that becomes the new contemporary urban centre. Its role as a unique urban space within the dense fabric of the medieval inner city of Seville allows for a great variety of activities such as memory, leisure and commerce. A highly developed infrastructure helps to activate the square, making it an attractive destination for tourists and locals alike.

The scheme with its large mushroom like structures offers an archeological site, a farmers market, an elevated plaza, multiple bars and restaurants underneath and inside the parasols, as well as a panorama terrace on the very top of the parasols. The construction is planned to be completed at end of year 2009.

Roof structure conceived as a roof structure that provides precious shade during the day, creating a comfortable microclimate and a place for relaxation market.

The organization of the floor plan allows for most areas of the market to be closed at night while keeping the bars on the north and south edge of the complex open.

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The architectural proposal doubles the original area and creates an additional 4.500 sqm of space. Water basins located in selected areas of the surface further enhance the microclimate and offer attractive locations for sitting and lingering.

Several years ago, during the excavation works for an underground car park, archaeological remains were discovered on the site. The city of Seville decided then to convert the area into museum and a square to

attract locals and tourists. The archeological museum is located underneath the market and visually marked by an entrance inside the thickest column of the parasol. These parasols are made from timber plates covering an area of 150 m x 70 m. It will be one of the largest architectural timber structures ever built.

The general contractor for the project is Sacyr, who are based in Spain and ayuntamiento de Seville. 50 % of the project is funded by the city of Seville, and the other 50% by the leading contractor of advanced wooden structures and timber & glass facades

in Europe, finnforest-merk (FFM) from Aichach in Germany.

The polyurethane coating protects the wood and allows it to breathe and the wood itself doesn't give off hazardous fumes in case it burns. It is sustainably planted, with a certificate PEFC, granted by the Finnish forest council of certification.

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Florence in my vision Main Concept

Things that catch our attention are usually the extraordinary, weird and out of the ordinary stuff. And in order for one to stand out, one has to be different among the rest and showcases something that is truly exclusive. The pavilion may have different characters so we consider multifunctional aspect and flexibility in the form.

The main concept here can be the monuments and historical layers of the city which mostly featured inside the pavilion. The pavilion will cover these areas: “From nature to city,” “From parents’ city to our current one,” and “From the current city to the future one.”

I’m infinitely fascinated by the organic nature world and the artful things they create:

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City Layers

War

Flood

Old facades

Monument

Real city face

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Colors

Break red and brown: rooftops, floor

Cream and yellow: city walls

Green: Landscape, green marble

In these pictures I can see the colors of Florence and I also could examine the delicate layers of the city.

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Symbols

Florence is a city full of symbols, now the pavilion needs a shape that can be more powerful than the others in order to known as a city brand.

Forms

City scale: tall height but short weight which you can also find in fluoresces houses and churches.

Curve ceiling and curve corner

Dome: The Duomo was a major part of the city Florence. This building acts as a central landmark on the map of the city. Italian churches tended to have a dome with lack of color on the outside and geometric designs for decoration inside and out.

The form should bring the old Italy up to date on the curves of a modern pavilion aiming to transform an old tradition into new life. The sensual curves of the pavilion inspire by the Florentines ceiling maybe rooted in internal ceiling of the church or even Italian houses.

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In the other way a model should have a form with full and empty spaces which is meant to encourage free flowing pedestrian traffic and create various open spaces within.

Material

The material would be the

combination of the easy to build, solid

and highly controlled steel structure

and the hugely flexible wicker panels

which will allow the complex geometry

of the drawings to be realized. The

pavilion is conceived as a series of

panels, some open and some enclosed,

creating circulation and multipurpose

spaces. Spaces between the wood

layers allow air to enter the structure.

Here are a few wooden shapes contain

layers which inspired the initial forms:

The iconic pieces have been inspired by the sweep and a passion for modern architecture.

This piece is the “Small Wave Ring” and is made of fine birch wood layers into one fluid form.

The piece that makes the coastline inspiration, also made of birch wood layers, in that it mimics waves or sand formations at low tide.

Arch ring one in a large collection of environmentally conscious and stunningly beautiful pieces.

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Alternative

Sites