Phase 3b – GarbinEAT

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Before starting with the design part, we are going to summarize the GarbinEAT management that has been completed for this phase.

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Complete material here

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DESIGN OBJECTIVES

The main objective of this design process is to create a new identity image for Garbinet.

This new urban image is composed by three main interventions. The first one takes place at the roundabout, the second one at the boulevards and the last one at the bars and trades.

The roundabout will be use as the showcase of the neighborhood. This was a conclusion for the phase 2. The roundabout, is the perfect place for advertisement because is strategically location.

On the other hand, the bars and boulevards will be the elements to advertise. From the analysis in the 3a phase the results were that bars and boulevards were the perfect candidates to be the raw material of this project.

The roundabout will be the main urban scenario and the others interventions should be associated to the roundabout.

DESIGN BENEFITS

Regarding to the benefits that this intervention will bring, we can differenciate between one for the commercial sector of the neigborhood (private benefit) and other one for the neigborhood and the neighbors (pubic benefit).

The private benefit is mainly economic. The local stores will be joining in a common image and brand. This brand will be associated to the neighbourhood and it will increase their status. Besides, the project and the “Sunny Sundays” event will be a strong tourist attraction.

Related to the public benefits, they will possess social and cultural character. In this case, the GarbinEAT project will be the opportunity to create a city branding. The image of the project will be closely associated to the district. Therefore the project will give to Garbinet the identity that they need. Furthermore, the development of a new furniture design will give to the neighbours the option to transform into a common celebration the traditions that they were already do in their private communities.

DESIGN PHASES

The different design interventions correspond to the phases developed in the project. This are organized into 3 groups: the branding, the physical design and finally the situations.

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BRAND DESIGN

PHASE 2: BRANDING (A + B + C + D)

One of the conditions of the GarbinEAT brand is that it can be used also as a brand of the neighbourhood.

As a first step to develop this part, has been analysed and studied the area of the corporate identities, due to is something new.

We have used the blog BRANDEMIA. Brandemia is a Spanish online platform dedicated to corporate identity and branding.

More inf here

For the design process of the GarbinEAT project is important to know the brand *positioning. Thus we can achieve a consistent design.

*Positioning: All that is and wants to be a Brand. It is s particular location in the minds of its stakeholders. It could say that is the brand personality.

About the positioning of GarbinEAT, the choosen cualities are:

GARBINET + TRADITION + OPTIMISM

GARBINET: belonging, exclusive, identity, joining.

TRADITION: gastronomy, mediterranean, culture, festival.

OPTIMISM: sun, sunny, happiness, celebration.

After this we can start designing the *logotype and *isotype for create the identity of the brand.

*Logotype: word formations

*Isotype: symbol

To do this, previously we will need a name and a range of colours.

Sources:

http://www.brandemia.org/hablemos-con-propiedad-logotipo-isotipo-imagotipo-isologo-imagen-corporativa-identidad/

http://www.brandemia.org/hablemos-con-propiedad-parte-2-los-terminos-estrategicos-de-una-marca/

DESIGN A:  NAME

CONDITIONS:

1 The name of the project must fit their positioning.

2 We have to take in to account the stakeholders. We need a name that identifies the neighbours. It should be in Spanish if possible, or include the word “garbinet”.

3 Other recommendations: it should be a short name, direct, potent, easy and recognizable.

FINAL DESIGN:

Finally, the chosen name is GarbinEAT. The name appears when we add an A in the penultimate letter. In that way we have GARBINET + EAT (tradition). The main reason for this name is because it is a short name and it makes easy for the neighbours to feel identify with it.

DESIGN B: COLOUR

CONDITIONS:

1 The colour of the brand must fit their positioning.

         DESIGN DEVELOPMENT:

The combination of colours makes easier for the viewer to get the message in a different way. We can use the colours’ properties in our favour when creating a brand identity or when generating purchase intentions in advertising.

The name of the brand covers the attributes of tradition and Garbinet. For that, the chosen colour tries to represent the optimism that we are trying to sell with GarbienEAT.

At the beginning the yellow colour was chosen as an instinctive image of GarbinEAT.  After that we have studied the colour theory and the influence on the marketing. Before to discard or not the yellow colour, has been analysed its meaning:

It is the color of the sunlight.
It represents joy, happiness, intellect and energy.

It is often associated with food.

This color is a claim for attention.

It is the first color that catches the eye.

It is recommendable to use in order to provoke pleasant and cheerful feelings.
It’s used to promote children’s products and leisure.

It seems like is the perfect match for the GarbinEAT brand.

FINAL DESIGN:

Chosen colour: PANTONE 107 C

Sources:

http://www.taringa.net/posts/apuntes-y-monografias/4545390/El-Color-en-el-Marketing.html

http://www.pulevasalud.com/ps/contenido.jsp?ID=58957&TIPO_CONTENIDO=Articulo&ID_CATEGORIA=104822

http://www.brandemia.org

DESIGN C: LOGOTIPO + ISOTIPO

CONDITIONS:

1 The design must fit their positioning.

2 The design has to refer the “puerta del milenio”. For that reason we are going to analyse the sculpture geometries.

3 This design should be also coined to Garbinet neighborhood, because there is a lack of neighbourhood brand.

REFERENCES:

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To develop this phase some references have been analysed, in order to know how they use of the existing elements for the generation of their city branding:

CANBERRA: The design plays with the grid of city streets, and the typography is thick so you can use it as a frame in the photos.

more inf here

MELBOURNE FESTIVAL: In this case, they have also played with the grid of the city, and the typography is hollow, again to be used as frame.

more inf here

SWEDEN: They directly use the flag and representative colours.

more inf here

EINDHOVEN: It symbolizes the energy of the city, which since the XIX has helped to the creation of big brands like Philips and DAF. Nowadays they still are a referent in technology. The type is purposely designed to fit with the waves.

more inf here

MINSK: This is a curious case, with the absence of a common symbol in the city, they design a flexible symbol, a pattern that each user interprets and adapts as they want.

more inf here 

Avenida da Liberdade Lisbon: For the design the have vectored a popular rosette pavement, and for the colour they have used blue cobblestones.

more inf here

Other references:

http://www.brandemia.org/dos-finalistas-se-reparten-el-premio-en-el-concurso-de-la-marca-bilbao-bizkaia/

http://www.brandemia.org/aragon-presenta-su-nueva-marca-turistica/

http://www.brandemia.org/un-importante-barrio-de-londres-desarrolla-su-propia-identidad-visual/

http://www.brandemia.org/el-puerto-barcelones-marina-port-vell-estrena-nueva-identidad-corporativa/

http://www.brandemia.org/algunas-propuestas-descartadas-en-el-concurso-de-logo-del-soho-de-malaga/

http://www.brandemia.org/el-barrio-londinense-de-carnaby-estrena-imagen-visual-corporativa/

ANALYSIS OF THE “PUERTA DEL MILENIO”:

After the analysis of the sculpture we observe that:

There is two pieces. The first one is configure with the combination of 3 rectangular prims. The small one is generate only with two.

The prims are combined themselves by the crossing of its edges.

The perception of the sculpture by pedestrians and drivers is always in 3D.

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000DESIGN DEVELOPMENT:

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000FINAL DESIGN:

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DESIGN D: SLOGAN

CONDITIONS:

1 The slogan must fit the positioning of the brand.

2 The phrase must be striking and easy to remember

DESIGN DEVELOPMENT:

Here there are some ideas for the slogan:

Festeja el comer

En garbinet celebramos la tradición

Celebra la tradición

Celebra garbineat

Celebramos lo que amamos

Donde siempre brilla el sol

Comamos juntos

Hoy comemos fuera

¿comemos juntos?

FINAL DESIGN:

            “¿COMEMOS JUNTOS?” or “DONDE SIEMPRE BRILLA EL SOL”

This brand designs are going to be the basis to consider in the development of the rest of designs that will configure the new urban image.

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PHYSICAL DESIGN

PHASE 4: NEW ROUNDABOUT IMAGE (E)

As has been explained, the roundabout is going to be transformed in the showcase of the neighbourhood. It will be the main intervention in this urban transformation.

It is an important traffic node, where circulate cars, pedestrians and cyclists and each with a different perception of the landmark and the roundabout. To create the new image we’ll play with the visual perception. Due to we will use the anamorphosis resource.

*Anamorphosis: it is a perspective effect used in art to force the viewer to a pre-establish or privileged point of view.

 CONDITIONS:

1 The new design has to make reference to the brand design

2 The main idea is to play with the visual perception. The receptors will be the drivers and the pedestrians. (anamorphosis)

3 It’s going to be a non permanent intervention, for that purpose we have to consider the material that we are going to use.

 REFERENCES:

The studied references are all about anamorphosis works. We have been analised the works of the collective Boamistura and for the artist Felice Varini and George Rousse.

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more inf:

http://www.boamistura.com/

http://www.varini.org/

http://www.georgesrousse.com/
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LOCATION:

In order to play with the anamorphosis intervention, the chosen points of view are very important.

In this case, ours observers are the drivers and the pedestrians. The drivers are mainly from Alicante and the pedestrians are from Garbinet, the people who we want to show the neighborhood.

The perception that they have of the roundabout is different, however our purpose is to show them the same image. Thus the design will be more conditioned and it will be more complex than if we do separate designs for each observer.

After the analysis of the area around the roundabout, the chosen points of view are the crosswalk and traffic lights. It is in the points where our observers are together.

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POINT A: This is one of the most important points, because is the most viewpoint by pedestrians. It is the end of the Avenida Pintor Xavier Soler, the new pedestrians connection with the roundabout.

POINT B: Here is the second most important point. In this case is the most view point for drivers, is from the street that joins our roundabout with the Plaza de Castalla, the connexion between Via Parque and Garbinet. Is the main car access to Garbinet.

POINT C: Is the connection between the shopping centre and the roundabout.

POINT D: Is the en of the main commercial street in the neighbourhood.

POINT E: Is the other pedestrian connection with the roundabout, the end of the Avenida Juan Sanchis Candela.

000MATERIALS:

The condition for the material election is that it must be put and removed without damaging the supporting elements. 

Therefore, we are going to use tape. Following one reference in which they use tape for the ephemeral transformation in a façade.

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Others references:

http://askepticaldesigners.wordpress.com/2013/05/01/just-an-illusion-139/

http://popupcity.net/designers-make-cape-towns-public-space-their-office/

DESIGN DEVELOPMENT:

In the following photo there is one of the first ideas.

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 Later for the final design it has been take in consideration the analysis of the sculpture.

 We will use the prims as frames, framing the elements where we want catch the attention of the people.

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 FINAL DESIGN:000

/Users/rocioegioperez/Documents/Arquitectura/6º/PROYECTOS 4/FASES/FASE 3/3b/DISEÑO/E/3D 2D/3D PROYECCIONES 2.dwg

POINT A

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POINT B
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POINT C
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POINT D
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POINT E
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PHASE 6 – 11 – 16: NEW TERRACE’S BAR IMAGE / NO TERRAICE BAR IMAGE / TRADES IMAGE (F – I – L)

The idea is to highlight the trades, using the GarbinEAT colours. In the new urban image the bars has to catch the eye attention. We will use the visual perception, as the same way that we will act in the roundabout.

CONDITIONS:

1 The design has to refer the roundabout image.

2 The use of the existing elements, and take the most potential of them.

3 It’s going to be a non permanent intervention, for that purpose we have to consider the material that we are going to use.

4 Use the visual perception of pedestrians and drivers.

REFERENCES:

The principal reference is again the ephemeral intervention in a vegan restaurant in Mardrid that we already showed, as reference for the material.

LOCATION:

For the chose the point of view it have been use the same criterion that before. From the crosswalk will be displayed the new trades or bar images.

Each crosswalk will show the trades and bars on its block in the direction of the traffic.

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MATERIALS:

Again we will be use the yellow tape.

DESIGN DEVELOPMENT:

The first idea was to act in to the façades and terraces, but the design changed because of the reality there. The sidewalks are full of trees and cars in double parks, so the visibility of the façades is not clear.

The design has as aim take out the commerce image, in order to recover the lacking visibility.

Furthermore the commerce’s name will be written in the crosswalk.

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FINAL DESIGN:

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PHASE 7: GARBINEAT FURNITURE (G)

CONDITIONS:

1 The design has to refer the roundabout image.

2 The furniture has to respond to the uses of table and kitchen.

3 Mobility, because they will be use in the no terrace bars and in the boulevards in the Sunny Sundays.

4 The materials must be resources from the neigourhood.

REFERENCES:

The references are mostly public kitchens or dining rooms.

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more inf:

http://viveroiniciativasciudadanas.net/tag/shraed-space/

Kitchen On The Move

Coca-Cola Launches Pop-Up Dining Room

http://www.guerrilla-innovation.com/archives/2012/02/000817.php

http://www.johannadehio.de/johanna_dehio/projects.html

http://www.guerrilla-innovation.com/archives/2011/05/000796.php

http://simonfoodfavourites.blogspot.com.es/2011/02/malaysia-kitchen-food-market-pop-up.html

http://www.kollectivstadtpark.blogspot.com.es

LOCATION:

As we have said, this elements will have two different locations, depends of it is a Sunny Sunday day or not.

In the boulevards the specific place for the furniture will be the intersections with the crosswalks, because is where the people access to the boulevard and where the area is bigger.

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MATERIALS:

About the materials, we can take advantage of the analysis about the commercial activity in the neighbourhood in order to identify the kind of materials or wastes that are generated. 

The main businesses in the old Garbinet are carpentries and “talleres de chapa y pintura”, for that reason one of the raw materials to be used will be the wood, and the painting will be provided by the “talleres de chapa y pintura”.

Other materials that we can obtain as donation are the fruit boxes from the supermarkets and greengroces.

DESIGN DEVELOPMENT:

We have included wheels in our design to be sure of its mobility. Besides, we have included handles in order to make it easier for the person in charge of the transportation.

Furthermore, in order to fulfil the kitchen use the design is provided with a camping gas and a hose that could be connected to the irrigation system.

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FINAL DESIGN:

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PHASE 12: BOULEVARD DESIGN (J)

As we have been intervene in the roundabout and strengthen of the commerce we have to act in the boulevards, because they will be the place for the Sunny Sundays celebration.

CONDITIONS: 

1 The design has to refer the roundabout image.

2 The use of the existing elements, and take the most potential of them.

3 It’s going to be a non permanent intervention, for that purpose we have to consider the material that we are going to use.

4 Use the visual perception of pedestrians and drivers.

REFERENCES:

The chosen reference is an intervention of the artist Zander Olsen in tree trunks. As we explained, the neighbourhood is full of trees and palms trees, and the boulevards are surrounded of them. In this intervention we will be use this trees and the planters.000

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more inf here

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LOCATION:

The points of view will be the same of the previous phase, the design of the commerces.

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MATERIALS:

Again we will be use the yellow tape, but also, yellow fabric for the trees, in the same way as the reference.

DESIGN DEVELOPMENT:

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FINAL DESIGN:

/Users/rocioegioperez/Documents/Arquitectura/6º/PROYECTOS 4/FASES/FASE 3/3b/DISEÑO/0. 3D 2D/árboles y bares.dwg

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PHASE 8 – 13: ADVERTISE GARBINEAT + GARBINEAT’S EVENTS (H – K)

CONDITIONS:

1 Make use of the anamorphosis knowledge.

2 Make use of the others roundabouts in Alicante. 

REFERENCES: 

As reference it have been chosen a parking designed by Alex Peemöller. The interest in this reference is because the artist is using the anamorphosis to indicate the cars the directions, exits and entrances. 

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more inf here

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IDEA:

The idea is “all roundabout lead to Garbinet”. In the daily trip of thousands of people, we will introduce some sings associated to the project.

Here we have an example in the Vía Perque, where the most view roundabouts are.

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SITUATIONS

All this designs are develop in order to celebrate as final objective the Sunny Sundays in GarbinEAT.

That day all the interventios have to be ready.

1 The roundabout image

2 The trades and bars image

3 The boulevard image

4 The GarbinEAT furniture placed in the boulevards and the terrace bar future too

5 The previous advertisement of the neighborhood and its fabulous event.

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The drawings have not been developed.

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SELF-CRITICISM:

As work to develop in the next few weeks the student intends to improve some aspects of the project, such as:

The furniture. All the phases design are related by the anamorphosis perception and in the furniture case, is like an independent project.

The situations. For the real understanding of how the interventions work it should be drawing the real interaction with the people.

The no develop phases. It must be necessary to finish the incomplete phases such a the advertisement part, and the economic management.

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Additional material:

material one

material two

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