notice me

erin renee chapman2010

Contents

Basic Information | name, advisors, title, abstract................................................................................... 3

Final Project Proposal................................................................................................................................ 5

Methodologies........................................................................................................................................... 9

Literature Review..................................................................................................................................... 15

Case Studies............................................................................................................................................. 27

Site + Context........................................................................................................................................... 47

Appendix.................................................................................................................................................. 51

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Name: Erin Chapman

Advisors: Ana de Brea | major Tony Costello | minor

Title: Notice Me: Abstracting Brands, Becoming Architecture

Abstract:

In today’s American culture, we are bombarded and consumed with visual stimulation. On an average day, an American urban dweller may come into contact with up to 20,000 diff erent logos. Through symbol, color, and text, our society is able to identify and connect the logos to the company it represents without a technical company title. Since brand representation has been stripped down solely to a sign, our architecture has suff ered. Once based upon form and structure identifi cation, modern “architecture” has been reduced to basic, open fl oor plans which could house a multitude of businesses. However, since every company is now recognized by an icon placed on an exterior facade, there is no need to spend time designing the interior space.

This realization begs the question, “Can corporations create architecture specifi c to brand needs while increasing the quality of architecture?” Through the strategic simplifi cation of a logo, brand identity can be reduced to basic color and geometry. Transformed into built design, branding architecture would eliminate the need for fl ashy signs without decreasing brand recognition. Consideration of regional location will be examined at a national level to represent specifi c environmental factors and culture to improve the quality of space found in the design. Through observation and examination of existing successful marketing schemes, I hope to be able to deliver a designed example of an extracted logo that represents a specifi c company’s brand alone.

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FINAL PROJECTPROPOSALThe IdeaWe as a society have become obsessed with image. Bombarded on a daily basis by symbols, color, and text, we have become immune to the amount of brand images we can recognize when presented with a logo and no company name. Each year, prominent companies spend millions of dollars on marketing schemes to better advertise their company’s products or services. Branding, in fact, has become a very important business within the marketing realm. Not only are the companies attempting to enhance their products to make consumers enticed enough to purchase, but they are attempting market a lifestyle.

Branding is eff ectively the recognition of one product or company against the their competitors. In today’s culture, every business needs a company logo. This logo, as mentioned previously, is just as important as the company name. Through colors and symbols, the company can still be accurately represented and remembered through logo. Through strategic extrapolation, brand logos can be reduced to basic geometries and colors. If done correctly, the abstracted form should still be able to represent the brand.

Taking the idea of simplifi cation one step further, brand can be applied to the company’s architecture as buildings have already started to represent their company’s image. When driving down the street, one can identify the diff erence between a Subway or Pizza Hut stand alone building without reading the actual signage.

The InvestigationExtensive studies and research will need to be conducted on successful marketing schemes. Not coming from a background in business or marketing, I will have to research. From a consumer point of view, I believe that McDonald’s has one of the strongest marketing campaigns in the United States. People from all walks of life can easily identify the double arched logo, recognize the specifi c combination of golden yellow and red on a billboard, or realize the building with the yellow arc above the entry is part of the McDonald’s brand. I have briefl y analyzed some of their marketing ideas, but would delve much deeper into the company’s standards in the coming months.

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Recently updating their image, McDonald’s has transformed from clunky to sleek in the matter of a few years. In many instances, franchises have completely demolished the existing building, only to rebuild the new model on the same site in mere months [example: McDonald’s on Tillotson Avenue, Muncie, Indiana]. This push for change shows how much design expectations have risen in America over the past decade. For McDonald’s, it is not about having the money to build completely new buildings instead of rehabilitating the old. It is more about eliminating the old version of themselves to showcase the new. Eradication is part of the plan. To completely update the McDonald’s brand, they have to eliminate any connection the old.

The new prototype design is a vast improvement over the previous McDonald’s layouts. Spatially, the restaurant has been laid out in such a way that patrons are encouraged to sit and “linger” rather than focus on a speedy delivery. Materials are softer [wood and fabrics instead of plastics] and colors are less off ensive [neutrals instead of bright reds and yellows]. These changes go back to validate the idea that America is demanding better quality designs, even in a typical fast food chain. The public would rather have rather have a comfortable restaurant than a 1990s pit stop.

The ImprovementCombining the ideas of brand recognition through architecture with the analysis of current marketing strategies found in companies like McDonald’s, I propose to develop a set of “branded buildings.” These buildings will utilize brand recognition techniques cued specifi cally from the company’s logo. The design will push for quality architecture-- meaning a focus on the spatial qualities and will not simply apply the brands represented colors and geometries. While undecided on a specifi c building type [besides the fact that it needs to have a commercial base or represented company], these basic principles can be applied to various types of architecture.

To elaborate on spatial qualities, I propose we stop placing “cookie-cutter” stamps around the country. We have a very unique and diverse climate based country. Ranging from hot and dry to cold and humid [only to mention a few], one building design cannot tackle every environment in the United States.

Developing a brand of architecture for corporation that is nationally, should step back and examine design from a regional scale. The regions environmental factors should be represented in design and layout. Unlike many McDonald’s, a building found in the southwestern portion of the country should look much diff erent, not only in cultural cues but in basic design layout, from a McDonald’s found in New England or Florida. This becomes tricky due to the fact that all regional designs must still all read of the represented brand.

In conjunction with the administered surveys [described in the methodologies section], I plan on validating the ability to read a company’s abstracted logo in relation to the architecture. For each region I study, there will be a diff erent “branded building” for the company to test. If various members of society are unable to recognize a specifi c brand in any or all regions, the design will be considered weak. A strong brand image should read from the architecture without clues from literal signs placed on the building.

We are at a turning point in architectural history where designers have to stop creating open building for the ease of attaching a sign on the front facade. We should no longer encourage society to continue relying on signage for convenience. There are other ways to communicate rather than through icons and logos and it is up to us to allow for this visual stimulation through other means. We, as designers, have been given the ability to solve problems in creative ways and should use this to our advantage.

METHODOLOGIESMy initial research will include an examination and review of branding and its ability to be transformed into architectural design. These ideas will look at society’s ability to recognize and recall corporate company logos or their “decorated sheds” (Learning from Las Vegas) that have been stamped throughout the country. We, as members of society, are bombarded with hundreds of brand logos daily. Subliminally, we all have a “brand bank” in the back of our minds that allows us to recall these images and connect the company’s graphic representation to the name, jingle, or product. Our whole world is virtually a series of representative images.

My main source of ideas and thoughts have come from various writings and articles found on the Internet and through simple [currently not extensive] observation of how many Americans live their lives through the recognition through visual representation. Many books and current studies are focused on the promotion of awareness that imagery has had on society and how it is changing the way we interact.

While exploring various diff erent marketing schemes and examining their specifi c uses of color, shape, and symbol, I was able to fi nd several logo examples that contain hidden symbols. This means that within the given logo there are suggestive icons of what the company either stands for or what they produce. While these logos are creative and theoretically subliminal, from what I have been able to fi nd, most of society is able to see or recognize these hidden messages fairly quickly.

Harder yet, I came across an Internet quiz that asked viewers to recognize and label a set of brands. These brand logos however were not the straight forward, cut and dry symbols. Stripping any given logo down to its basic colors and geometries, Graham Smith had created the “Unevolved Brand.” Smith, who is a freelance logo and identity designer in the United Kingdom, has done an extensive and a progressive study on brand & logo simplifi cation [http://unevolvedbrands.com/].

Upon the discovery of the “Unevolved Brands,” I started to develop my own quiz or survey that I plan on administering over the month of December. This quiz will not only have some of Graham Smith’s logos but also have a few straightforward brand logos that many people should be able to identify. The idea behind the survey, will be to study the ability for everyday members of society to recognize the transformation of symbol into the same icon but stripped down to its bare form and color.

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Over Thanksgiving break, I started to administer a very similar survey to the one previously described. My goal for December break on into next semester would be to ask, at minimum, 100 diff erent people to complete the survey for accurate results. By conducting a majority of the survey over the month of December while away from a college campus, I will be able to gather a vast array of participants, ranging from young to old with varying backgrounds and educations [See Appendix for examples].

Once the surveys have been handed out, completed, and analyzed, the knowledge gained will be reexamined. Transforming the unevolved brand into a piece of architecture is where design development starts to get tricky. It is not merely placing the unevolved colors and geometry into the form of a building, it is about creating a memorable and desirable space out of an image. It is the ability to derive a company’s logo and perceived values and translate them into a physical, three dimensional piece of work that creates the same “vibe” as the two dimensional symbol.

Potentially, I would like to be able to talk to students or faculty in the marketing department at Ball State University to get educated input on what they believe is important when it comes to consumers recognizing a specifi c brand. Colors, placement, readability, connection, and emotion just begin to skim the surface of a company’s marketing scheme. Through conversation or through specifi c questions, I hope to be able to gain a better foundation for how companies develop their campaign.

A few case studies have already been examined with some being discussed later in this proposal. Potentially, a further examination of McDonald’s and other like corporations [Google, Apple, Taco Bell, or Pepsi/Coca-Cola] will be allow for insight into the “do’s and don’t’s” of a good marketing scheme. These new and developed understandings can be applied to new case studies [in addition to the ones already completed] to help develop my where image and new design have been able to successfully translate a brand’s logo into a recognizable piece of architecture.

From Left to Right | NBC, Starbucks, Google, Apple Examples of Graham Smith’s “Unevolved Brands”

When transforming a brand into an architectural statement, the piece of architecture has to be inviting and memorable or else the visitor will leave feeling unimpressed with a potential negative view towards the company. This strategy is not good for business. Companies are in the business of making money not steering customers away.

To further examine this idea of creating welcomed and inviting spaces with interiors that encourage visitors to stay longer, purchase more products, and want to return, I would like to go on numerous short site visits to corporate commercial spaces. These businesses should be able to communicate basic ideas of spaces that work and fl ourish from a marketing viewpoint. Ideally, they would also be able to be unique in design while still being recognized as part of the corporate brand that typically follows a stringent aesthetic or look.

The one company that quickly comes to mind would be McDonald’s.

While there seems to be many controversies with McDonald’s food quality or its correlation to American health issues, I only wish to look at the social aspects associated with the company and it’s cultural eff ect on our society through image and architectural recognition. While McDonald’s may seem to be elementary in design, I do believe that McDonald’s as a corporation has one of the strongest and most recognizable icons in the world today. Studying their marketing scheme and logo transformation into architecture may provide insight into the development of a fi nal deliverable in April.

the fi nal outcomeWhether the fi nal deliverable is a standard design for a fast food restaurant chain that enhances the interior quality of space, a streamline retail store complete with memorable logo that is designed for the 21st century, or the development of a big box store’s logo and its ability to redefi ne their marketing strategy to create smaller urban-scaled stores, the principles of creating a recognizable piece of architecture out of a brand logo is merely all the same.

1 | They are everywhere.2 | They usually follow a specifi c design aesthetic.3 | Within the past fi ve years, the company has started to transform its “look” from clunky plastic to contemporary and stylish 4 | They have a wide range of customers ranging from young to old, rich to poor5 | They have many franchises that are “exceptions” and steer from the standard store layout, yet it is easily recognized as a McDonald’s [Chicago’s Rock and Roll McDonald’s, the Chase Tower McDonald’s in Chicago, the McDonald’s confi ded to the middle of I-90 on the south side of Chicago]

LITERATURE REVIEWThe following pages contain brief summaries of the literature reviewed thus far in the semester. The main ideas pulled from the literature have been graphically represented to present an argument for image and graphics. An examination of text has helped to formulate personal opinions on the subject matter relevant to image and society. By reading various pieces of work, I have been able to better understand the importance of creating architecture with personality [performance, appeals, and impression], creating memorable sensory experiences for users, and the signifi cance of signage to a company. To better understand the ideas behind branded architecture and how we as a society react to architecture or design in our fast paced society, a re-examination [review] of the same literary pieces will need to take place accompanied by additional pieces of literature.

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“..today’s brandscapes-- exemplifi ed by corporate franchises, signature buildings, shopping centers, expositions, and planned residential developments-- have resulted in a culture of the copy, imitating one another in their off erings and aesthetics.” -Anna Klingmann

BrandscapesKlingmann, Anna. Brandscapes: Architecture in the Experience Economy. Cambridge, MA: MIT, 2007. Print.

Klingmann stresses the importance of personality and ambience in architecture and how we use sensory experiences help us understand the world live in. Originally, buildings were recognized by the form they took on due to the function of the building. Now, buildings are identifi ed by their front facade and the images that project to the street. We have lost the personal, authentic touch of architecture and replaced it with staged media. “Because icons have the power to refl ect a social system, they become objects of veneration that are imprinted in people’s memory.” Branding plays a very important role in our lives. In one image of Times Square [granted it is probably one of the most infl uential places in the U.S.] there are at least two dozen digital billboards fl ashing “propaganda” down the glowing street. Through propaganda, we buy into the lifestyles that are being sold-- after all, who doesn’t want the last celebrity has? We want to fi t in because “we live in a society that is exponentially growing in insecurities, belonging, and disorientation.”

“The spheres of our lives (enclosed rooms, work spaces, offi ces) are structured and segmented by the rhythms and patterns of what surrounds us (cars, traffi c, the television, other people talking, the sound and light of a Xerox machine)...” -Doug Aitken

SleepwalkersAitken, Doug, and Emily Hall. Doug Aitken: Sleepwalkers. New York: Museum of Modern Art in Association with Creative Time, 2007. Print.

If you drive though the Las Vegas strip at an even speed, it’s as if you’re moving like a fi lm, with your car running twenty-four frames per second. You see it together as a panoramic, linear fi lm. In places like Sun City, Vegas, or Times Square, you fall into an immersive atmosphere. You suddenly become “inside cinema”: you’re no longer watching the spectacle-- you are the spectacle. You fi nd yourself navigating your own fi lm; as you walk, you edit.

nothing ever stays the same.

Sixth avenues on Fifty-third and Fifty-fourth streets becomes an active act of piecing together, generous and demanding at the same time; it connects viewers with a complex work about horizontal and vertical movement, constant traffic, round- the- clock restlessness, and the unstoppable pace and automatic rhythms of the city.

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An analysis of Doug Aitken’s installation, Sleepwalkers, examines the city as a living, breathing organism through the means of image, human interaction, and architecture. The study of fi ve individuals and their journeys through the course of a day reveals the basic ideas of sleepwalking. During rush hours the city breathes in. At night, even the “city that never sleeps’, breathes out. During the deep breath in, we are consumed with our personal “bubbles’ [individual cars and ipods] too busy to interact with the millions of other people going through the exact same actions. Aitken broadcasts his exhibit on the facades of Museum of Modern Art to the natural background noises of the city. A lack of human interaction combined with the projection of images onto the facades of a well-known museum confronts society with several serious issues.

Images displayed on the inside buildings are generally associ-ated with the archi-tecture that houses them; murals on and in governmental or corporate facades and lobbies tend to represent the myths and ambitions rel-evant to a building’s funtion.

Architecture, however, is often lit like a beacon.

Sleepwalkers, instead of creating a Times Square- like frenetic voic, alludes to the museum as a container: a building that exhibits and conserves some of the world’s fi nest art, fi lm, architecture, and desing.

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ally you think of a city like New York as being anti-past, always chang-ing, always developing, bit the city holds the in-expungeable odor of the long ago.

The characters now arrive at work, climbing stairs, riding elevators, ascending in to the in-terior of a Times Square sign. The velocities that gradually coalesced as they traveled to their jobs now seem once again to ebb, to separate-- but as they start their work, the fi rm’s pace once again quickens: mail is sorted, papers are copied, posters are pasted up, electrical circuits are replaced and repaired. We fi nd a hard reality in the characters’ environments, in the grit of a subway platform, in the coldly minimal decor of the offi ce. Each life takes an odd turn. While walking down the street, the businessman almost collides with a taxi; he then climbs onto the car’s hood and starts dancing on it, chipping away the yellow enamel.

We are way stations for energy, the work seems to tell us, a brief stopover for calories being excited into heat.

The closest precedent for Sleep-walkers may be the drive-in cin-ema-- not because the fi lms shown there were made with the outdoor format in mind, but because of the way drive-ins created an audience of spaces both mobile and private.

“We shall emphasize image-- image over process or form-- in asserting that architecture depends in its perception and creation on past experience and emotional association and that these symbolic and representational elements may often be contradictory to the form, structure, and program with which they combined in the same building... the duck... the decorated shed...” -Robert Venturi + Denise Scott Brown

Learning from Las VegasVenturi, Robert, Brown Denise Scott, and Steven Izenour. Learning from Las Vegas. Cambridge, MA: MIT, 1972. Print.

the duck: a special building that is a symbol

the decorated shed: the conventional shelter that applies symbol

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“If you showed a driver a green blurs, Oh yes! He’d say, that’s grass. A pink blur! That’s a rose garden! White blurs are houses. Brown blurs are cows. Have you seen the two hundred-foot-long billboards in the country beyond town? Did you know that once billboards were only twenty feet long? But cars started rushing by so quickly they had to stretch the advertising out so it would last.” -Ray Bradbury

Fahrenheit 451Bradbury, Ray. Fahrenheit 451. New York, NY: Ballantine, 1991. Print.

“It’s the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We’re always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something.” -Crash

“Crash (2004) - IMDb.” The Internet Movie Database (IMDb). Web. 7 Dec. 2010. <http://www.imdb.com/title/tt0375679/>.

Additional Sources to be Considered

A Whole New Mind: Why Right-Brainers will Rule the FuturePink, Daniel H. A Whole New Mind: Why Right-brainers Will Rule the Future. New York: Riverhead, 2006. Print.

Architecture as Signs and SystemsVenturi, Robert, and Brown Denise Scott. Architecture as Signs and Systems: for a Mannerist Time. Cambridge, MA: Belknap of Harvard UP, 2004. Print.

Broken ScreenAitken, Doug, and Noel Daniel. Broken Screen: Expanding the Image, Breaking the Narrative-- 26 Conversations with Doug Aitken. New York: D.A.P./Distributed Art, 2006. Print.

Delirious New YorkKoolhaas, Rem. Delirious New York: A Retroactive Manifesto for Manhattan. New York: Monacelli, 1994. Print.

McDonald’s new look: Less aesthetic heartburn, but where’s the spice?Kamin, Blair. “Cityscapes: McDonald’s New Look: Less Aesthetic Heartburn, but Where’s the Spice?” Chicago Tribune. 5 Dec. 2008. Web. 04 Dec. 2010. <http://featuresblogs.chicagotribune.com/theskyline/2008/12/mcdonalds-new-l.html>.

Minority Report | fi ctional movieSpielberg, Steven. Minority Report. 21 June 2002.

MutationsKoolhaas, Rem, Stefano Boeri, Sanford Kwinter, Nadia Tazi, and Hans Ulrich. Obrist. Mutations. Bordeaux: Arc En Rê ve Centre D’architecture, 2001. Print.

Project: Pavilions in Independence Park | Public RestroomsArchitect: Rafael IglesiaWhere: Rosario, ArgentinaWhen: 2003

BREAKING DOWN STATIC IMAGERY IN SOCIETY 27Typically, when searching for a restroom, one looks for the standard sign of motionless man or woman to locate the proper room to use the facilities. Usually located in the back corner of an offi ce building, in an inconvenient portion of a park, or down a hidden hallway, these mandatory spaces of function are hard to fi nd. In Independence Park, located in the center of Rosario, Argentina, Rafael Iglesia breaks down these norms to celebrate location and functional spaces.

Located next to the main entrance where two main streets converge, the restrooms are placed in a very noticeable area, visible for all to see. Placed here, the glass and concrete structure celebrate the need for functional spaces that are convenient to use. When illuminated at night, the structure becomes a beacon of light, illuminating a part of the park that was typically dark and forgotten prior to its existence.

Far left | Plan of Independence Park, an large city park located near the center of the city. Four main roads surround and contain the park [red]. There are two secondary roads that cross through the park and allow for vehicles to travel deeper into the park [orange]. The restrooms are located in the SE corner, next to one of the main entrances.

Left | Site model of the portion of the park that contain the restrooms. The restrooms are located in an obvious and visible position next to a main entrance.

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Not only are the restrooms located in a visible and prominent location within the park, but the materials the structure is made from allow for a high visibility into the usually private rooms. Made from reinforced concrete and incased in structural glass, the interior of the restrooms are seen from the exterior; one can see if the facility is being occupied by others by the shadows and silhouettes that are cast from the lighting fi xtures and strategic plan Iglesis designed.

The standard rest room is usually considered very private and is typically tucked away where no one can see. The conventional design of a restroom can lead to several types social issues such as entrapment spaces, destruction [graffi ti], and promiscuity. Iglesis eliminates the majority of these issues by encasing the rest room in glass and placing the structure in a prominent viewing area.

Top Left | Main entrance to the restroom

Top Right | Image of silhouettes and shadows that are visible from the exterior both day and night

Bottom Left | Photograph of the simple rectangular structure made of reinforced concrete and structural glass

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During daylight hours, natural light fi lters into the hallways of the restrooms through the structural glass that lines the pavilion [left]. A fl at concrete roof makes it possible for skylights to allow daylight into the divided and private rooms [below].

The doors slide on a track to cover the openings to the individual rooms when in use. The slight bend in the metal door allows for strip lighting to illuminate the hall and the private room at night. When the light is covered or the door is closed, one is able to see which “stalls” are being used from the exterior of the building.

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why is this importantThese unique restrooms are important because they start to celebrate function through location. Although well-designed, the restrooms still have to be functional and serve their purpose. Iglesias does this but also changes layout and materials. By using daylight to illuminate the space, he uses glass where opaque materials are typically used for privacy. The rooms still do not breach anyone’s privacy at all. By changing the layout of the typically closed off dark room, it becomes more interesting, unique, and celebrated for its diff erences.

More importantly the restrooms start to change the way the public sees a typical restroom. Usually, we see are informed by the male and female stick fi gure sign to rely on which room to use. We are confronted by the actions of the diff erent genders to fi gure out which room to use instead of the standard fi gures. In most cases, the combination of sign change and the new layout and use of materials would make the public feel uncomfortable but Iglasias’ ability to control privacy issues while enhancing design still makes the public comfortable to use the facilities.

Picture CreditsPhoto 1 | Mens/Womens Room Sign. Photograph. Newton Distributing Company. 2010. Web. 1 Dec. 2010. <http://www.newtondistributing.com>.

Photo 2 | Extracted from Google Earth

Photo 3 | Foto-01BG. Photograph. Rafael Iglesia-Architect. 2003. Web. 28 Nov. 2010. <http://www.rafaeliglesia.com.ar/fi rst-E.htm>.

Photo 4 | LaPlante, Madeline N. P1011268. 2007. Photograph.

Photo 5 | Pabellones_parque_de_la_independencia_4. Photograph. WikiArquitectura: Buildings of the World. 24 Nov. 2008. Web. 1 Dec. 2010. <http://en.wikiarquitectura.com/index.php/Independence_Park_Pavilions_in_Rosario>.

Photo 6 | Pabellones_parque_de_la_independencia_7. Photograph. WikiArquitectura: Buildings of the World. 24 Nov. 2008. Web. 1 Dec. 2010. <http://en.wikiarquitectura.com/index.php/Independence_Park_Pavilions_in_Rosario>.



Photo 9 | Pabellones_parque_de_la_independencia_9. Photograph. WikiArquitectura: Buildings of the World. 24 Nov. 2008. Web. 28 Nov. 2010. <http://en.wikiarquitectura.com/index.php/Independence_Park_Pavilions_in_Rosario>.

Photo 10 | Fritegotto, Gustavo. 71a_08. Photograph. Summa+ 71. 2003. Web. 28 Nov. 2010. <http://www.summamas.com/71a.htm>.

Article ReferencesIglesia, Rafael. “Pabellones En El Parque.” Summa+ 71. 2003. Web. 01 Dec. 2010. <http://www.summamas.com/71a.htm>.

“Rafael Iglesia - Architect.” Rafael Iglesia - Arquitecto. 2003. Web. 01 Dec. 2010. <http://www.rafaeliglesia.com.ar/fi rst-E.htm>.

Redstone, Elias. “Rafael Iglesia.” New Architects in Latin America. 27 Feb. 2009. Web. 01 Dec. 2010. <http://newarchitects.blogspot.com/2009/02/rafael-iglesias.html>.

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Project: Sleepwalkers InstallationArchitect: Doug AitkenWhere: Museum of Modern Art | New York CityWhen: January 16 - February 12, 2007

BROADCASTING LIFESTYLE THROUGH IMAGE

For nearly a month in 2007, The Museum of Modern Art presented Doug Aitken’s sleepwalkers exhibit. The broken narratives depicted have no set script, showed diff erent scenes each day, and have no set beginning or end. The installation comprised of eight large projections in the courtyard and street facades, exhibit to an audience the travels and daily routine for fi ve diff erent city dwellers. Shown for fi ve evening hours each day, Aitken relives the nocturnal journeys of a bicycle messenger, a businessman, an offi ce worker, an electrician, and a postal worker.

Aitken’s attempt by showing several diff erent images on multiple facades of the building was an eff ort to “capture the multiple facets of a living city as if seen through a cut diamond, revealing a kaleidoscope of simultaneous views” (MoMa.org). By this Aitken is examining the handful of lives that run simultaneous with each other, even over lapping, but never diverging. Within New York City, there is a constant fl ow of life and energy. Millions of people go about their everyday lives without noticing the other people passing them on the street or within their offi ce building. By showing the fi ve diff erent lives up on the facades of the museum, people are virtually forced to stop and notice their actions.

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The lifestyles and depictions, although important, are not the main focus of this case study. Architecturally speaking, the use of a facade to display information is not necessarily new technology, but it is a new way of examining and seeing a building. Flashing images or movies up against a well known and visible building in one of the busiest cities makes people, not only stop and stare at the presented material, but it also changes the way the people passing by interact with their surroundings.

Consider Aitken’s work to be an urban drive-in theater, without the cars, audio, and popcorn. During the day, thousands of people pass by ignoring in their daily surroundings, focusing on their next meeting, listening to their ipod, or chatting with their friends via phone. At night, even though many New Yorkers are accustom to fl ashy lights and a spectacular show, witnessing an outdoor exhibit in a place not meant for one, defi nitely gained attention.

Above |All images above depict the Museum of Modern Art’s courtyard. All images are examples of what the building and courtyard looked like when Aitken’s installation was playing.

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Previous Page | All fi ve people are the characters from Aitken’s Sleepwalkers exhibit: a bike messanger, a businessman, an offi ce worker, an electrician, and a postal worker.

The transformation of space from day to night is not new to the New York scene. Places like Times Square, Chinatown, and the Empire State Building illuminate the night sky. While these destinations are close, they are not set in the same scale as the Museum of ModernArt. Surrounded by skyscrapers, the intimate courtyard is small and closed off from the bustle and bustle of city life-- making it more to the human scale.

Due to the courtyards human scale, the more inviting and the more noticeable a change to the space would be. I believe this was also part of Aitken’s idea. He used and manipulated the existing space with digital projections-- not even a movie sound track [no musical elements, just the natural cityscape sounds] to showcase his ideas. He had placed them on specifi c sections of the building to make viewing the movie even more prominent. Obvious to those who came to the museum to see the show, but also intended for those just walking by in the heavily white collar and visitor area of New York City, Aitken wanted his presentation seen and the ideas of sleepwalking to start inspiring.

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Diagram Above | Diagram of the Museum of Modern Art and location of the projections with ideal path to view the installation.

why this is importantThe two main factors found in this case are very important to the development of my thesis because they explore our current lifestyle situation-- sleepwalking through a very fast pace lifestyle-- and the use of architecture to project image.

While the image portrayed in this installation may not be the same as some of the other case studies or examples I have looked at, it is still the use image. Aitken’s idea was not to draw in a crowd by using neon lights and a fl ashy logo, but to draw people in by an unforgettable tale that made the audience realize there is more to life than always running to and from meetings. I believe that Aitken wanted to spark a tiny twinge and a brief realization into his viewers to open up their eyes. Maybe not immediately, maybe not even for a while, but he wanted to spark enough light into their eyes so that he could build the main principles of sleepwalking through life and this idea could start to fester and come into perspective later on.

Through the use of logos and branding, marketing teams wish to accomplish these simple same ideas. In a much more forward situation, companies place an icon of themselves through logo or slogan in a strategic place in hopes of leaving a little bit of themselves and what they stand for implanted deep in the viewer’s mind. Eventually, the viewer will be able to recognize the company outside of that situation and can call out the company by slogan or logo alone-- sometimes, even just through color. Being able to recall the company’s name when it comes time to purchase or recommend to a friend proves the marketing team has done their job and the company continues to fl ourish. While Aitken was not advertising for Coke or McDonalds, he was raising awareness of this subconscious world we live and lifestyles we lead.

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Picture CreditsPhoto 1 | Aitken, Doug, and Emily Hall. Doug Aitken: Sleepwalkers. New York: Museum of Modern Art in Association with Creative Time, 2007. 101. Print.

Photo 2 | “Free Film of the Week.” This Week in New York:The Insider’s Guide to the City Since 2001. 31 Jan. 2007. Web. 28 Nov. 2010. <http://twi-ny.com/twiny.01.31.07.html>.

Photo 3 | Aitken, Doug, and Emily Hall. Doug Aitken: Sleepwalkers. New York: Museum of Modern Art in Association with Creative Time, 2007. 109. Print.



Photo 6 | “Category Archive for ‘User Experience’ at Silberbauer Says:.” Silberbauer Says:. 20 Feb. 2007. Web. 1 Dec. 2010. <http://silberbauer.dk/wp/category/user-experience/>.

Photo 7 | Michel, Sia. “MoMA Does a Drive-In.” New York Magazine. 7 Jan. 2007. Web. 1 Dec. 2010. <http://nymag.com/arts/art/reviews/26286/>.

Photo 8 | “Category Archive for ‘User Experience’ at Silberbauer Says:.” Silberbauer Says:. 20 Feb. 2007. Web. 1 Dec. 2010. <http://silberbauer.dk/wp/category/user-experience/>.

Photo 9 | Smith, Roberta. “The Museum as Outdoor Movie Screen.” New York Times. 18 Jan. 2007. Web. 1 Dec. 2010. <http://www.nytimes.com/2007/01/18/arts/18moma.html>.

Photo 10 | Smith, Roberta. “The Museum as Outdoor Movie Screen.” New York Times. 18 Jan. 2007. Web. 1 Dec. 2010. <http://www.nytimes.com/2007/01/18/arts/18moma.html>.

Photo 11 | “MoMA.org | Interactives | Exhibitions | 2007 | Doug Aitken: Sleepwalkers | Index.” MoMA | The Museum of Modern Art. Web. 04 Dec. 2010. <http://www.moma.org/interactives/exhibitions/2007/aitken/>.





Photo 16 | Aitken, Doug, and Emily Hall. Doug Aitken: Sleepwalkers. New York: Museum of Modern Art in Association with Creative Time, 2007. 93, 96-97. Print.

Article ReferencesAitken, Doug, and Emily Hall. Doug Aitken: Sleepwalkers. New York: Museum of Modern Art in Association with Creative Time, 2007. Print.

“Creative Time.” Creative Council.blog. Web. 1 Dec. 2010. <http://heartasarenacreativetime.blogspot.com/2007_01_01_archive.html>.

Michel, Sia. “MoMA Does a Drive-In.” New York Magazine. 7 Jan. 2007. Web. 1 Dec. 2010. <http://nymag.com/arts/art/reviews/26286/>.

“MoMA.org | Interactives | Exhibitions | 2007 | Doug Aitken: Sleepwalkers | Index.” MoMA | The Museum of Modern Art. Web. 04 Dec. 2010. <http://www.moma.org/interactives/exhibitions/2007/aitken/>.

RECOGNITION OF BRAND THROUGH ARCHITECTURE

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Project: McDonald’s Architect: VariesWhere: Anywhere, USAWhen: 1960’s to Present

Without debating whether McDonald’s is good or bad for American society, it is hard to argue that McDonald’s does not have a profound impact on our landscape all across the country. The prominent golden yellow and vivid double arches are one of the most recognizable icons in America. With over 12,000 McDonald locations in the United States alone, it is hard to miss the prominent symbol when driving down the street.

Over the years, the well-known company has had several standard designed buildings pepper suburban cities. Starting in the 1960s, McDonald’s restaurants consisted of a small boxed building with an angled roof, fl anked on both sides by a golden arch. At fi rst, these restaurants did not contain an area to sit and eat in an interior setting-- just a drive thru or order/pick up window. In 1969, McDonald’s issued their second famous building form. Franchise owners were asked to implement a brown-toned overhanging double-hipped parapet roof-- commonly known as the double mansard roof. McDonald’s was focused on eliminating the giant golden arches that were considered eyesores by the general public. Interior space was also added.

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Complete with non-moveable chairs and bright, nearly off ensive colors, the McDonald’s standard stood strong for nearly thirty years-- with the iconic roof being the prime identifi er. It was not until the late 1990s, when owners were heavily pushed to change the color of the roof from the standard brown to a bright red or the company trademark yellow. It is at this time that we can see McDonald’s preparing for a complete revitalization of building identifi cation.

Five years ago, McDonald’s rolled out their new prototype building-- a visually more sophisticated and comfortable structure, one less off ensive for the eyes to observe. An exterior that is articulated with well-detailed, recessed brick courses and aluminum panels, the design is not life changing but is an improvement over the previous. Keeping the yellow but adding shades of variance and transforming the double arch to the widened “eyebrow” arc, the new prototype reads as fresh and modern as opposed to clunky and dated.

Dayna Proud states that although the building transformation is costly investment [1,000,000 to tear down, 3-4,000,000 to rebuild] it is a fi fty year investment for the company. In other words, McDonald’s was losing their edge as a fast food competitor and this change should keep them on top for many decades to come.

Left Top | Modernized version of fi rst McDonald’sLeft Middle | McDonald’s complete with iconic red roofLeft Bottom | Example of new building prototypeRight | An original McDonald’s sign containing the original mascot “Speedee” and only a single arch

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The interiors of the new McDonald’s are drastically diff erent than the previous designs. The hard molded plastic seats that once represented cleanliness now represent sterility. While having a sterile place to sit at a restaurant that turns over hundreds of people at all walks of life in one day is important, feeling comfortable in that same space has started to take importance. Grouted dark tile and off ensive colors scream dated; not to mention the daylighting factors and oversized windows that take in no account of sustainability.

The new interiors focus on getting rid of the amount of cheap plastic visible. While most of the surfaces are still plastic [easier clean up], the surfaces are designed with a disguise in wood tables and wall moldings. Softer chair backs made out of plastic, soft pendant lighting for individual tables, and contemporary art now fl oods the interiors of McDonald’s. In some instances, a fi replace with designer chairs may even appear to encourage patrons to stay longer. Daylighting and to an extent other green principles have been implemented. Glazing eff ectively uses daylight enhances the interior space during the day. At night, the electrical light illuminates the exterior facade creating a beacon of light and attention to McDonald’s. Eff ectively McDonald’s has been able to sign their sign without touching the actual sign.

The layouts of the buildings have also started to change. Designed with three separate seating areas [a fast zone-- typical fast food ideology, a social zone-- larger tables for more social gatherings, and a linger zone-- areas completely focused on comfort] McDonald’s has catered to a patron’s every need. The new design and appearance of McDonald’s has become more of a restaurant than a pit stop. People are spending more and more time away from home and the workplace in spaces dubbed “third place.” McDonald’s wants to benefi t from these observations by creating space for people to work on a laptop or enjoy a cup of coff ee to entice people to stop by and purchase products... after all, they are still in it for the monetary profi t.

Left | New interior of McDonald’s. Softer materials create a space more enticing for patrons to relax and linger.Above | Old interior of McDonald’s. Harsh surfaces encourage patrons to get in and get out as fast as possible.Right | An collection of McDonald’s ranging from Times Square, an airport terminal, a modernized version of the original design, and an example of the new design iteration

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Picture CreditsPhoto 1 | “McDonald’s Buildings.” Eateries. Web. 04 Dec. 2010. <http://www.agilitynut.com/eateries/mcd.html>.

Photo 2 | “McDonald’s Buildings.” Eateries. Web. 04 Dec. 2010. <http://www.agilitynut.com/eateries/mcd.html>.



Photo 5 | “The Case of McDonald’s versus Deluxe Hamburgers.” Firlapalooza. 7 Oct. 2007. Web. 04 Dec. 2010. <http://fi rlapalooza.com/?p=126>.

Photo 6 | Holley, Paxton. 2008. Photograph.


Photo 8 | “Eco-Friendly and Green News.” Web. 05 Dec. 2010. <http://keetsa.com/blog/tag/mcdonald/>.

Photo 9 | “An Old Style McDonald’s Building on Powell Blvd.” Portland Ground: Portland Oregon Pictures - Fresh Images Daily. 28 Dec. 2005. Web. 04 Dec. 2010. <http://www.portlandground.com/archives/2005/12/an_old_style_mc_1.php>.

Photo 10 | “Not Your Average McDonald’s.” Things to Do in Atlanta. Web. 04 Dec. 2010. <http://projects.accessatlanta.com/gallery/view/restaurants/mcdonalds0415/>.

Photo 11 | Y.C., Noel. “New York’s Glitziest Fast Food Restaurant.” NYC � NYC. 4 Sept. 2010. Web. 04 Dec. 2010. <http://nyclovesnyc.blogspot.com/2010/09/new-yorks-glitziest-fast-food.html>.

Photo 12 | Holley, Paxton. 2008. Photograph.

Photo 13 | Schwietzke, Rene’ “McDonalds at Route 1.” Yet Another Photo Blog - Fly Agaric in Sweden. Web. 04 Dec. 2010. <http://www.yetanotherphotoblog.de/index.php?showimage=212>.


Article ReferencesKamin, Blair. “Cityscapes: McDonald’s New Look: Less Aesthetic Heartburn, but Where’s the Spice?” Chicago Tribune. 5 Dec. 2008. Web. 04 Dec. 2010. <http://featuresblogs.chicagotribune.com/theskyline/2008/12/mcdonalds-new-l.html>.

Mc, Kevin. “Weird McDonald’s.” HubPages. 2008. Web. 07 Dec. 2010. <http://hubpages.com/hub/Weird_McDonalds>.

“Mickey D’s McMakeover.” Bloomberg Businessweek. 15 May 2006. Web. 07 Dec. 2010. <http://www.businessweek.com/magazine/content/06_20/b3984065.htm>.

why this is importantThe study of brand evolvement through architecture is important because of the eff ect it has on our country. People no longer have to rely solely on a sign with symbols and text to identify a company. The recognition of a company’s colors and abstracted geometries connect to the study found in the methodologies portion of this abstract titled “Unevolved Brands.” We as a culture have begun to understand brand as more than just a logo. It is the result of a personal connection to a specifi c company through product or lifestyle.

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SITE + CONTEXTFor this project proposal, a site has not been chosen or developed yet. The reason for this is simple. If the idea for the creative project is to develop a recognizable brand, image, or logo for a company through architectural pieces and is not necessarily a specifi c building type, then the deliverable may not be one specifi c building, but rather a line of buildings or architectural pieces.

Like the McDonalds case study discussed previously with the redesign of the arc instead of the double arches and the new use of golden yellow, the restaurant or store must be able to be recognized no matter what the specifi c location. Color and overall exterior design is tricky because it must be both read from a detailed, up close perspective [walking by or intentions to approach the building] as well as a high speed perspective [driving down in a vehicle, may or may not be looking for the specifi c building] which ties back to ideas of image and scale discussed in Learning from Las Vegas.

Ideally, once branding has been identifi ed for the company [fi ctional or non] and those main geometries and colors have been selected and transformed into architectural features, basic building design may take place. Many important strategies will be considered and tackled when developing a functional and effi -cient program. Not only will exterior consideration take place but also the improvement of spatial quality on the interior will be examined. It is important for the building or key architectural features look and act as though they are part of the 21st century. If the building or its qualities do not look as if they are from the current era, prospective visitors will be less interested and may consider spending less time in the store [equals less money in the eyes of a business owner].

Many can see the examination and then the transformation of improved interior quality of several diff erent fast food chains in recent years. The hope is to not focus solely on aesthetics to improve these qualities, but in fact, to rely on some basic sustainable strategies. Without going into great depth at this time, it is important to me to implement sustainable ideas and principles into the design. Creating a LEED effi ciency building is not the main design push behind this section of thought, but many simple design strategies that are encouraged in sustainable design help to improve the quality of space. For example providing accurate amounts of daylight and encouraging an orientation for optimal passive ventilation may help liven up a space and bring it into the 21st century.

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When it comes to potentially designing a set of buildings that read specifi cally to a brand, there is the potential that the brand will be nationwide, possibly even global-- like McDonalds or Taco Bell. This does not create a problem but does create a hindrance when developing a specifi c architectural type for a company. The buildings should be able to be recognized no matter what section of the country it is looked.

When combining these thoughts of locality with simple and basic ideas of sustainability in regards to interior quality improvement, it would be key to design for a specifi c region of the country. Especially looking at design principles, orientation, daylighting factors, and solar gain change drastically throughout our diverse country. One could not design the same building in Indiana as they would Arizona or Florida. Too many factors regarding these specifi c locations change region to region. With these changes the overall shell of the building will change; however, design will still need to represent the company or brand the building is being designed.

On the following pages, quick design principles based on location have been developed to note the diff erences in climate change and schematic design ideas. It is important to note that these are not the only climates in the continental United States. These three locations were selected do to their extreme diff erences to each other.

The following information was found on www.worldclimate.com and through the use of the program Climate Consultant.

arizona

Temperature Averages

Jan 37 66Feb 40 71Mar 44 76Apr 49 84May 56 92Jun 64 100Jul 73 102Aug 72 101Sep 65 96Oct 54 87Nov 44 74Dec 38 66YEAR 53 85

6.8” annual rainfall33 N 112 W

Heating Degree Days: 1573Cooling Degree Days: 30261154’ above sea

Use window overhangs with operable sunshades. Use lightly colored building materials and cool roofs (with radiant barriers) to minimize conducted heat gain. Keep building small not to waste heating and cooling energy. Face most of glass areas to south to maximize winter sun but shade to prevent summer overheating. Design for cross ventilation possibilities. Eliminate glazing on west facing facade to reduce summer and fall heat gain. Shaded, wind protected courtyards create micro climates in hot, windy, dry climates like Arizona. Utilize fans to increase air movement and mask the need for air condition. Use plant material on west to shade the structure.

f l o r i d a

Temperature Averages


59” annual rainfall26 N 80 W

Heating Degree Days: 200Cooling Degree Days: 4198 9’ above sea

Use window overhangs with operable sunshades. Use prevailing breezes to move air through structure via cross ventilation. Use light weight construction with open-able walls with shaded outdoor porches, raised above the ground. Warm, humid climates tend to have high ceilings and high operable windows. Well ventilation, pitched roofs can protect entries or porches and can be set up for water collection. Keep building small as to not waste cooling energy. Consider stack ventilation where possible. Orient most of the glass to the north, shaded with vertical fi ns. Open fl oor plans promote natural cross ventilated spaces.

indianaTemperature

Averages


40.2” annual rainfall40 N 86 W

Heating Degree Days: 5614Cooling Degree Days: 1013 790’ above sea

Low mass tightly sealed, well insulated construction is best in cold, overcast climates where heat buildup is needed early in the morning. Consider a snug fl oor plan with central heat source with south facing windows and a pitched roof for wind protection. Winter sun to penetrate into daytime used spaces. Vestibule entry. Locate storage areas on side with the coldest winds to protect interior space quality. Tiles/slate can store winter daytime solar gain and summer nighttime coolth. Use window overhangs with operable sunshades designed for this specifi c climate. Consider using extra insulation. Natural ventilation could potentially eliminate the need for air conditioning on warm weather.

APPENDIX

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Survey One | exploration of iconic image and the recognition of respective city

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Age: ____________ Gender: m / f

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Survey Two | identify the logos brand name

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Survey Three | identify the abstracted logos brand name

notice me

Documents

architecture specifi

specifi c companys brand

quality of architecture

brand needs

branding architecture

brand identity

brand recognition

brand images