THESIS INCUBATOR STUDIO
#
TIS
Polimi TIS
Anna Aleksandra Dziedzic
MULTISCAPE THE NEW DESIGN STRATEGY FOR AUTODROMO NAZIONALE MONZA
Project developed within the Thesis Incubator Studio - Politecnico di Milano in partnership with Autodromo Nazionale Monza
CORSO DI LAUREA MAGISTRALE IN INTERIOR AND SPATIAL DESIGN THESIS INCUBATOR STUDIO | A.Y. 2019-20 #TIS_polimi TEAM Giovanna Piccinno, coordinator and professor Anna Barbara, professor Cristina Morbi, professor Giulia Pellegrino, professor Daniele Mazzinghi, assistant Alice Zingales, assistant #TIS_CLUSTER 2019 | 20 Autodromo Nazionale Monza Cleaf McArthurGlen Group Zafferano Ai|Lati
THESIS INCUBATOR STUDIO
#
TIS
Polimi TIS
Anna Aleksandra Dziedzic
MULTISCAPE THE NEW DESIGN STRATEGY FOR AUTODROMO NAZIONALE MONZA
THE NEW DESIGN STRATEGY
Multiscape
How to translate the identity of Autodromo Nazionale Monza into a physical environment? The design strategy that will express the brand in architecture and embrace the human experience
I am profoundly grateful to Professor Giovanna Piccinno for giving me the space for searching my own way in this project, for the time I need to experiment and explore, and finally for finding it, in my own rhythm. The whole TIS team for a great exchange of experiences and all my friends and family who strongly supported me and believed in me all along the process.
abstract Today, the branded environment is one of the most important elements of the overall brand strategy. It combines many areas, including architecture, landscape, and furniture design, which are the physical manifestation and a link between the brand and the user. It allows to experience the brand on a deeper level and create a solid foundation to strengthen the relationship with users. The goal of this project is to analyze this correlation on the example of the Autodromo Nazionale Monza and, as a result, the creation of the design strategy, which, through the variety of tools from digital, graphic, up to the space design, will build a coherent brand image. To allow seamless implementation of this strategy, the branding structure will be introduced. It allows to clearly see the necessary elements, their functions, types, and the levels of availability, and finally choose the most appropriate tools that will result in increasing an organization’s innovative qualities through building the new brand architecture, but always keeping the same language coherent with the brand guidelines.
CONTE NTS
Multiscape: New Design Strategy
contents abstract 11 list of figures
18
introduction 23 chapter zero
preface 0.1 program 0.2
of thesis
28
goal of the thesis
31
chapter one
exploration 1.1
preparatory research
35
1.1.1
location
36
1.1.2
history of the circuit
37
1.1.3
timeline
44
1.1.4 scale
comparison
46
1.1.5
landscape elements
49
1.1.6
areas of activities of autdromo nazionale monza
50
1.1.7
external connections
54
1.1.8
place exploration
56
internal touchpoints
58
1.1.8B
external touchpoints
60
world race circuits
1.1.10 swot
analysis
62 68
1.2
seeking the question
70
1.3
site visiting
72
1.4
main question
80
1.5
question oriented research
83
1.5.1
history of branding
84
1.5.2
what is a brand?
90
1.5.3
key terms
93
1.5.4
brand experience
94
1.5.5
environmental branding
96
1.5.6
the importance of branded environment
102
1.5.7
place experience
106
1.6
visual research data arrangement
110
1.7
case studies
113
1.7.2
dreamland
119
1.7.3
gordon young
121
1.7.4
circuit of the americas
125
chapter two
creation 2.1
brief
130
2.2
multiscape of autodromo nazionale monza
132
2.2.1
scapes
134
Autodromo Nazionale Monza
1.1.9
1.1.8A
CONTE NTS
Multiscape: New Design Strategy
2.3
2.4
strategy
138
2.3.1
archigraphy
140
2.3.2
new approaches and digital technologies
142
2.3.3
call for paper
146
case studies
148
2.4.1
venti progetti per il futuro del lingotto
149
2.4.2
google campus
150
2.4.3
swiss museum of transport
151
2.4.4
grafting architecture
152
2.4.5
superkilen
153
2.4.6
350 mission
154
2.4.7
legoland wayfinding
155
chapter three
reflection 3.1
multiscape experience
158
3.2
values of autodromo nazionale monza
160
3.3
scenarios
166
3.3.1
italian grand prix
168
3.3.2
guided tour
170
3.4
inspiration and main design drivers
172
3.5
developing shapes
174
3.6
materials research
176
3.7
layers
180
implementation 4.1
branding structure 4.2
4.3
layer 01 circuit supergraphics
192
4.2.2
helipads
200
4.2.3
interior wayfinding
202
4.2.4
mesh elements
203
layer 02
4.6
204 signs
206
4.3.2
directional signs
212
4.3.3
interpretive signs
218
4.3.4
identification signs
220
layer 03 4.4.1
4.5
190
4.2.1
4.3.1 orientation
4.4
184
urban equipment
layer 04
227 228 235
4.5.1
logo refresh
236
4.5.2
typography
244
4.5.3
pictograms
246
4.5.4
general guidelines for wayfinding system
248
4.5.5
wayfinding system
250
4.5.6
editorial materials
254
4.5.7
corporate materials
256
4.5.8
possible extension
260
layer 05
262
Autodromo Nazionale Monza
chapter four
Multiscape: New Design Strategy
4.7
archiguide
CONTE NTS
4.7.1
scapes scenarios
267 268
references 5.1 books 292 5.2 journal
articles
294
5.3 thesis 295 5.4
webinars 295
5.5 presentations 296 5.6 websites 296
Autodromo Nazionale Monza
list of figures Figure 0.1 Phases of the thesis, diagram. 2019
22
Figure 0.2 General program of the thesis
29
Figure 0.3 Monza, Autodromo Nazionale, 1962. Enzo Ferrari, fondatore della Scuderia 30 Ferrari, lungo il circuito mentre osserva una sua monoposto in fase di test.
30
Figure 1.1 Detailed research process
34
Figure 1.2 Location of Autodromo Nazionale Monza
36
Figure 1.3 Track configuration - original circuit. 1922.
38
Figure 1.4 Track configuration - Florio circuit. 1930
39
Figure 1.5 Track configuration. 1995
40
Figure 1.6 Track configuration. 1972
41
Figure 1.7 Italian Grand Prix 1955. Oval section in Monza was used for first time, Juan Manuel Fangio with a W 196 R Stromlinien
42
Figure 1.8 Track configuration - today
43
Figure 1.9 Landscape elements: hardscape versus softscape, Parco di Monza
48
Figure 1.10 Main area of activities and connections of Autodromo Nazionale Monza - present state 51 Figure 1.11 The track of Monza in the Sahara Desert
53
Figure 1.12 Example of brands visible on Autodromo Nazionle Monza and collaboration brands 54 Figure 1.13 Internal Touchpoints of Autodromo Nazionale Monza
58
Figure 1.14 External Touchpoints of Autodromo Nazionale Monza
60
Figure 1.15 Map of places where Grand Prix are held
62
Figure 1.16 SWOT Analysis of Autodromo Nazionale Monza
69
Figure 1.17 Site visiting process
71
Figure 1.18 Site visiting - experience map
72
Figure 1.19 Site analysis of Autodromo Nazionale Monza
74
Figure 1.20 Early Texas Cattle Brands - Portal to Texas History
85
Figure 1.21 Registered in 1884, Samson Ropes is the oldest US trademark still in use today. Via The Council of Industry
86
Figure 1.23 Lego, 1934
88
Figure 1.22 Ford logo, 1903
88
Figure 1.24 New brand model from Marty Neumeier, The Brand Flip, 2016, Liquid Agency 91 Figure 1.25 Brand DNA components, Designit
93
Figure 1.26 Brand Experience (adapted from Orchestrating designable touchpoints for 94 service businesses, 2013) 94 Figure 1.27 Designable Touchpoints (adapted from Orchestrating designable touchpoints for service businesses, 2013)
95
Figure 1.28 The progression of economic value
97
Figure 1.29 Landscape Formation as situated within the circuit of culture
99
Figure 1.30 Gap-bridging place branding guide.
101
Figure 1.31 Goals for branded environment
102
Figure 1.32 Basic environmental psychology model by BronHiggs (2017) via Wikipedia 108 Figure 1.33 Olympic publication. Poster Olympic Games Mexico City 1968
114
Figure 1.34 Olympic stadium design. Detail.
115
Figure 1.35 Toltec warrior statues
116
Figure 1.36 Aztec carving as an inspiration
116
Figure 1.37 Exhibition stand towers, inspired by Toltec warrior statues
117
Figure 1.38 Dreamland by Paul Finkel, Piston Design
118
Figure 1.39 Entrance to the park by HemingwayDesign
119
Figure 1.40 The Comedy Carpet, Blackpool, 2011 via Gordon Young
120
Figure 1.41 The Comedy Carpet, Blackpool, 2011 via Gordon Young
121
Figure 1.42 Traversing Wall, Barry Island, 2014 via Gordon Young
122
Figure 1.43 Climbing Towers & Boulder Wall, Blackpool, 2006 via Gordon Young
123
Figure 1.44 Circuit of the Americas, 2016 via Squaremile
124
Figure 1.45 Circuit of The Americas via Archdaily
125
Figure 1.46 Food area, Circuit of the Americas
126
Figure 1.47 Tower at night,
127
Figure 2.1 Diagram of Multiscape Experience
133
Figure 2.2. Capacity for control of the physical environment and branding by M.Hall (2007)
137 Figure 2.3 Three Main Components of EGD and how they can overlap, Wayne Hunt, 2015 141 Figure 2.4 Tour in 3D at Autodromo Nazionale Monza via Brianzapiu.it
145
Figure 2.5 Virtual Reality World, 15/04/2020
146
Figure 2.6 Pierluigi Cerri’s visual identity for the Turin Lingotto
149
Figure 2.7 Google’s Kirkland campus wayfinding
150
Figure 2.8 Swiss Museum of Transport via Gigon/Guyer Architekten
151
Figure 2.9 Grafting wayfinding via Bildi
152
Figure 2.10 Suk Image by Iwan Baan via Archdaily
153
Figure 2.11 Virtual Depictions via Refik Anadol
154
Figure 2.12 Augmented-Reality Wayfinding via Wonderment Lab
155
Figure 3.1 Multiscape experience
159
Figure 3.2 Values of Autodromo Nazionale Monza
160
Figure 3.3 Juan Manuel Fangio at Monza 1949
161
Figure 3.4 The Tifosi at Autodromo Nazionale Monza via Scuderia Ferrari
162
@ScuderiaFerrari 162 Figure 3.5 Richie Ginther, Phill Hill, Jim Clark, Ricardo Rodriguez: Ferrari 156 Shark Nose, Lotus-Cliamxc21, entering the banking of the legendary concrete Oval - Autodromo Nazionale Monza, Italian Grand Prix,September 09, 1961. via F1geeks.com
163
Figure 3.6 Red Bull team
164
Figure 3.7 Monza historic
165
Figure 3.8 Possible scenarios
167
Figure 3.9 Italian Grand Prix scenario
168
Figure 3.10 User journey map during Grand Prix Italy
169
Figure 3.11 Guided Tour points
170
Figure 3.12 User journey map during guided tour
171
Figure 3.13 Design inspiration
172
Figure 3.14 Shapes sketches
174
Figure 3.15 Autdormo Nazionale Monza - shape sketches
175
Figure 3.16 Material board
178
Figure 3.17 Project layers
181
Figure 4.1 Max Huber - posters for Autodromo Nazionale Monza
192
Figure 4.2 Helipod for medical purposes - regulation
200
Figure 4.3 Juan Manuel Fangio at Monza 1949
261
Figure 4.4 Ultima AI accurancy diagram via V-Count
262
Figure 4.5 Papercast managing system via Papercast
263
Figure 4.6 Sensoneo sensor for waste monitoring via Senseneo
263
Figure 4.8 Mediamesh by GKD Metal Fabrics
264
Figure 4.7 Detail of Mediamesh by GKD Metal Fabrics
264
Figure 0.1 Phases of the thesis, diagram. 2019
THESIS INCUBATOR STUDIO
introduction This work is the result of over a year of activity as part of the experimental Thesis Incubator Studio course at Politecnico di Milano and cooperation with Autodromo Nazionale Monza. Thesis Incubator Studio is an innovative project that allows students to collaborate with the School of Design as part of the Interior and Spatial Design of the Politecnico di Milano program and with leading professors and researchers with external companies. The projects cover a variety of areas and project scales, from general landscapes to interior design and related activities. The main idea is to operate within the Design-Driven Innovation strategy. This initiative allows tightening cooperation between students and companies and getting acquainted with the mechanisms of operation of the design market. The starting point for the project is detailed research that leads to the creation of innovative solutions.
“Design is the silent ambassador of your brand” Paul Rand
chapter zero
preface
The initial phase shows the preparation and the complete process of developing the thesis from the perspective. It contains a work schedule, program, and main steps, showing the main goals and assumptions.
Multiscape: New Design Strategy
DESCRIPTION OF THE FRAMEWORK AND FOLLOWING STEPS
0.1
program of thesis
Starting the design process, I began with creating the structure and steps to follow along with the development. I created the program of the thesis based on the well-known Deming cycle method (PDCA: plan–do–check–act), which is widely used in business to improve organizational processes but adapted to this particular project (see Figure 0.2). My strategy consists of 5 main phases: Explore, Describe, Create, Implement
and Measure, and mid-steps to check and reframe before moving on to the next stage. The design process starts with the Exploration part, which is the foundation of the thesis. It is an iterative process and evolving with each step, from being the main focus at the beginning to becoming a support for the final step. The next one is Describe step, which helps me to set down the main objectives of the project and specify
STEP 01
STEP 02 check
explore
explore
describe
by doing
research
what?
(reframe)
how?
strategy of thesis development
PRE FACE
28
the goals with
brief
Autodromo Nazionale Monza
29
desired outcomes. It is the time when I am describing the main values and qualities of the Autodromo Nazionale Monza which become the base for the future narration of the project. Step 3 is to Create a new design strategy based on a detailed brief and to present the possible scenarios of the project for now and the future, according to different variables. When the strategy is prepared, it is
time to translate and Implement the solutions in the real space, as are they mentioned in the program. It becomes the new vision and design solution for Autodromo Nazionale Monza. In the Measure step is time to check and reflect given answer, how the project influences the space and brand, and how it will create new possibilities for further development.
STEP 04
STEP 03
STEP 05
check
explore
check
implement
create
answer the brief
startegy
with?
(reframe)
by?
what?
(reframe)
measure
solution for startegy
design
how it works
check
Figure 0.2 General program of the thesis
PRE FACE
Figure 0.3 Monza, New Autodromo 30 Multiscape: Design Nazionale, Strategy 1962. Enzo Ferrari, fondatore della Scuderia Ferrari, lungo il circuito mentre osserva una sua monoposto in fase di test.
FRAMEWORK AND DESIRED OUTCOMES
0.2
goal of the thesis
The goal of this thesis is to analyze the meaning and the importance of the branded environment as one of the elements of the entire process of building the brand strategy and coherent brand image according to architectural space. The main objective is to create the design strategy for Autodromo Nazionale Monza, proposing the new flexible toolkit, which can be easily applied and implement on different fields, from brand identity, through digital or editorial design, up to space design during different scenarios, using various tools. The desired outcome is to increase the possibility to smoothly extend the Autodromo Nazionale Monza as a brand itself and enable to start new collaborations to increase an organization’s innovative qualities through building new brand architecture, but always keeping the same language coherent with the main brand guidelines.
ANALYZE branded environment as an element of brand startegy CREATE new design startegy IMPLEMENT as tangible elements in space REFLECT creating the future possibilities of brand extension
Autodromo Nazionale Monza
31
chapter one
exploration
The exploration part is divided into two parts, which stands adequately for the team and personal research. Thanks to that, from the endless materials it was possible to extract the main question to work on in the further process. The whole process of the research starts with the mind map, which describes all the most important focus points and helps to develop and keep the flow during the whole work. It is the anchor of the whole thesis.
Multiscape: New Design Strategy
PREPARATORY RESEARCH
E X PLO RATI O N
34
Autodromo di Monza
HISTORY
SITE ANALYSIS
SWOT ANALYSIS
LOCATION
PROGRAM
COMPETITORS
VISUAL IDENITY
LOCATION
SETTING THE QUESTIONS
INDIVIDUAL RESEARCH searching for the question BRANDED ENVIRONEMNT PERSONAL ANALYSIS
QUESTION ORIENTED RESEARCH
Figure 1.1 Detailed research process
GROUP RESEARCH - PART A
1.1
preparatory research
This chapter contains the results of the preparatory research for further thesis development. The first part of the exploration, the general one, was provided together with the Politecnico di Milano students as a part of the Thesis Incubator Studio. The objectives set before the start of the research were very general and extensive. They included a general understanding of the company and its prospects, its competitors, finding strengths and weaknesses, as well as analysis of the location, the site analysis, and every touchpoint, everything to be able to identify a specific research problem. The focus was to create the general image of the place based on the broad analysis of the site. Working in a group, we were able to ensure the triangulation of the materials and researchers, which allowed us to prepare precise results covering many problems. As the main research tools, we used materials found on the internet, photos, texts, other research papers, books, and an on-site visit and personal observations. The results of the research were presented as diagrams, collages, photos, and texts. Authors of the research: Sara Berardo - Giorgio Bonadei -Nicole Chmet - Anna Aleksandra Dziedzic - Alessia Filippini - Anna Marchi Elena Riina - Chiara Sangermani
A
{
autodromo nazionale monza history site analysis swot analysis competitors program plan analysis brand identity
Autodromo Nazionale Monza
35
36
Multiscape: New Design Strategy
E X PLO RATI O N
WHICH WAY TO AUTODROMO NAZIONALE MONZA?
1.1.1
location
The Autodromo Nazionale Monza is a historic race track near the city center of Monza, between Brianza and 20 km north of Milan’s city center, Italy. Situated near the complex of Royal Villa of Monza with gardens in a woodland setting, in the urban park which is one of the largest in Europe.
to Au
2,5
mo
dro
km di M co r a P
4k
za
on
m nza
Mo
rt
60
km
n
lpe
Ma
irpo sa A
M n+
za
on
a
Mil
20
24 an an
km
irp te A a n i
Mil
Mil
km
ort
L
Figure 1.2 Location of Autodromo Nazionale Monza
AUTODROMO NAZIONALE MONZA HISTORY OF BIRTH
1.1.2
history of the circuit
Autodromo Nazionale Monza
37
Nowadays, Autodromo Nazionale Monza is known to the world audience for the Italian Grand Prix, taking place every year bar one since 1950. But the real history starts over 20 years earlier when the circuit was constructed thanks to the Automobile Club of Milan. It was the third purpose-built racing circuit all around the world (Brooklands in England 1907, and Indianapolis in America 1909). Currently, it is a big complex with two overlapping tracks, evolved with years in length and shape. Since its first configuration in 1922, the Monza track had many modifications over time, such as additional chicanes or corner radius adjustments, all to provide better safety standards. Moreover, Autodromo Nazionale Monza, is a witness to the greatest sporting events, technological research, and automotive innovations.
location
1st GP
circuit lenght
race distance
number of laps
Monza
1950
5.793 km
306.72 km
53 laps
on
1st GP
circuit lenght
race distance
number of laps
lap record
za
1950
5.793 km
306.72 km
53 laps
1:21.046
E X PLO RATI O N
38
Multiscape: New Design Strategy
1922 Construction and the first race The idea to construct the circuit came from Italian cars manufacturers, who wanted to test and experiment with their cars and finally, start to win the international races. The construction took only 110 days, and it was built by the Automobile club Milano (ACI), who formed a dedicated company to develop the project - SIAS (Società Incremento Autodromo e Sport). It was also a golden opportunity to mark the 25th anniversary of the club’s founding. The first circuit was 10 kilometers long with two loops, and the surface, which at that time, was constructed of macadam.
curve di lesmo
curva del serraglio
curva del serraglio variante ascari
curva parabolica
curva biassono
variante del rettililio variante del rettililio
Figure 1.3 Track configuration - original circuit. 1922.
1928 Fatal accident 1928 was a black spot in racing history due to the accident of Emilio Materassi who crashed into tribune and killed 27 spectators, and even more were injured. After this tragedy, the Italian Grand Prix was suspended until 1931 and some changes were implemented for the spectator’s safety. Although, the other races continued, such as the newly created Monza Grand Prix in 1929, and for safety reasons, it was run only on the high-speed loop.
1930 The slowest layout ever After the tragic accident in 1928, the president of the Automobile Sport Commission, Vincenzo Florio, propose a new circuit configuration, using the existing one loop. The new layout was called Florio Circuit. However, it wasn’t used until 1934 when the Italian Grand Prix took place after other accidents.
1933 Black Sunday It was another black day at Monza Circuit, when three top drivers lost their lives Giuseppe Campari, Baconin Borzacchini, and Stanislas Czaykowski. It shows, how difficult was to assure safety on the circuit during the races - every time it was kind of an experiment. These days, the circuit was built almost identical to any other country road, and spectators were almost a part of the circuit, standing next to the track without any safety net. These accidents led to creating a sequence of layout adjustments.
curve di lesmo
200 m
curva del serraglio
curva parabolica curva biassono variante del rettililio
Figure 1.4 Track configuration - Florio circuit. 1930
Autodromo Nazionale Monza
39
E X PLO RATI O N
40
Multiscape: New Design Strategy
1938 - 1948 Complex renovation After the 1938 Italian Grand Prix race, Autodromo Nazione Monza started the first complex renovation works, including resurfacing of the road course, new central grandstand, pits, service buildings, or even scoreboard for the public. Unfortunately, the program of the modifications was stopped due to World War II. That time, the track was demolished, the surface had been broken up by the military machinery, as well as buildings and tribunes. Some areas were used for the storage of military equipment. During the time after World War II, the races took part in Milan (1947) and then in Turin in Valentino Park (1948). In 1948 the Milan Automobile Club succeed to finish the restoration works planned in 1938. The 1949 race returned to Monza where it stayed for the next 30 years with the configuration ready before the war but never used yet.
1955 Return to the roots In 1955, the management decided to redesign the circuit layout - the idea was to come back to the original arrangement of roads from 1922, but meeting the new safety requirements, and what’s even more important to make the circuit faster. The most significant changes were the addition of Parabolica corner, the road which has a parabolic course, and the construction of the new Monza banking. The whole infrastructure was modified in order to improve spectators’ experience. The complete track was used during the 1955 Italian Grand Prix.
curve di lesmo 200 m
curva del serraglio
curva del serraglio variante ascari
curva parabolica
curva biassono
variante del rettililio variante del rettililio
Figure 1.5 Track configuration. 1995
1972 Changes for Monza Due to the progressive development of car technology, such as increased engine power, improved aerodynamic, or reduced weight of the car, changes on the track have become inevitable. In agreement with Grand Prix Drivers’ Association (GPDA), the circuit got two new chicanes - a small chicane at the end of the pit straight and another one at the Vialone curve. The main goal was to reduce the speed on the track. However, as we saw later, the chicanes weren’t enough to prevent future accidents and collisions, that’s why in the following years, the decision had been made to replace them with three layout changes.
curve di lesmo
200 m
curva del serraglio
curva parabolica curva biassono variante del rettililio
Figure 1.6 Track configuration. 1972
1979 - 1989 Further development Because of another car development, the circuit also needed to be adapted to changes. With the new technology and improvement of vehicles speed, the track was modified again for increasing on track safety measures. The pit area was restored according to the request of FOCA (Formula One Constructor’s Association). The press room was enlarged, terrace bar was built. In the following years, the new podium was constructed, the whole backup base has expanded and many safety changes were implemented.
Autodromo Nazionale Monza
41
Multiscape: New Design Strategy
E X PLO RATI O N
42
Figure 1.7 Italian Grand Prix 1955. Oval section in Monza was used for first time, Juan Manuel Fangio with a W 196 R Stromlinien
1989 - 1997 New pit complex Due to the new requirements of FISA and FOCA, Autodromo Nazionale started works on the new pits complex. The new construction has the impression of lightness, it was made with steel pillars set at a 24-meter distance. The ground floor is made up of 48 modular units, suitable for 16 Formula two-car teams, above there is a glass wall where we find press rooms, offices, and hospitality rooms. The most important function of this glass system is to prevent drivers from sun rays dazzling and reduce beat transmission to building construction. The rooftop is dedicated to the hospitality area and photographic laboratories. At the same time, the offices for the Italian Sports Commission (CSAI) and other structures have been created. In 1989 also other interventions took place such as developing complicated technological installations. It helps to process and gather data related to cars during the race: positions, velocities, analysis of the times lap by lap and for each section of the circuit.
Monza today In recent years, Autodromo di Monza constantly improved its infrastructure to fulfill the requirements of changing world. They renewed and enlarged functionality, especially for hospitality. The pit area also was updated and reshape to even better be able to match with drivers and teams. Thanks to all these changes, Autodromo di Monza confirm to be the fastest track in the world and can operate more than races. It’s a great place for leisure and other sports such as bicycle races, marathons, exhibitions, and a car testing center. It is a place for the research, innovation, and experimentation, under Monza Research Institute, take place, together with other organizations, a range of studies, testing, training and outreach, events, seminars and conferences, and release publications.
Figure 1.8 Track configuration - today
curve di lesmo
200 m
curva del serraglio
curva del serraglio variante ascari
curva parabolica
curva biassono
variante del rettililio variante del rettililio
Autodromo Nazionale Monza
43
44
Multiscape: New Design Strategy
E X PLO RATI O N
1.1.3
1922
1929
timeline
1935
1938 1939 circuit unused
circuit unused
Second World War
circuit modification
1961
1972
circuit modificatio
circuit modification
1972
ircuit modificationc
new structures
1948
1950
new structures
new structures
Autodromo Nazionale Monza
45
1955
circuit modification
ircuit modification
new structures
E X PLO RATI O N
46
Multiscape: New Design Strategy
1.1.4
scale comparison
MONZA PARK 6.88 km²
SEMPIONE PARK 0.38 km² 18 times
CERCHIA DEI NAVIGLI 2.97 km² 2.3 times
MALPENSA AIRPORT 9.53 km² 0.7 times
Autodromo Nazionale Monza
47
Multiscape: New Design Strategy
E X PLO RATI O N
GR
ASS
pe the livf a a c s to o
t rs s sofcape relfeelement
S
softscape
D OO
W
e
ra ts Sof icultu t hor scape d lan
TER WA landscape
48
RE
TU UC
TR
US INF
LE
hardscape
CYC
PE
N
RIA
ST DE
HS PAT
e cap s d lan ent ard ronm h i o rs t lt env rated e f i e o r pe the bu incorp a c ds in re Har erials hat a t t ma tures scape c stru a land into
e p a sc
d har
Figure 1.9 Landscape elements: hardscape versus softscape, Parco di Monza
HARDSCAPE VERSUS SOFTSCAPE
1.1.5
landscape elements
To better understand the structure of the Autodromo Nazionale Monza complex, a landscape analysis has been done (see Figure 1.9). The circuit is situated in the north part of Parco di Monza, surrounded by a variety of elements such as hardscapes and softscapes. Hardscape refers to terrain designed with non-living elements that are incorporated into a landscape, such as paved areas, walkways, retaining walls, and other structures made from concrete, wood, brick, metal, or stone. On the contrary, softscape deals with natural forms like soil or vegetation. These two elements together are the essence of landscape and complement each other. The main hardscape element is the circuit which consists of an asphalt race track surrounded by metal barriers and wire mesh. Around the track, we can find a whole supplementary infrastructure, starting with the office buildings, hospitality area, pits stop complex, and podium which is permanent elements, through temporary structures to small details such as screens, scoreboards, or urban furniture. The other recognizable part of the park is the Royal Villa of Monza, located south of the circuit and commissioned by Emperor Napoleon in 1805 as a model farm and hunting
reserve. Throughout the park, there are 3 villas and over 15 historical typical cascinas - farmhouses, mills, bridges, gates, and other infrastructure such as golf courses, tennis courts, and swimming pool. Parco di Monza extends over an area of 688 hectares, which makes it the largest urban park in Europe. Because of this huge surface, the park is crossed by footpaths, bicycle paths, and a car road to facilitate movement and connect different infrastructures. The park is home to many species of animals who can find shelter in woods, meadows, and exotic species of plants, however, the forest represents the main ecosystem. The main water environment is the river Lambro which crosses the park in its southern sector. Although Autodromo Nazionale Monza is an artificial “landscape” associated with the “hard” automotive industry, thanks to its location in the middle of the park, makes a contrast and can use the natural barriers such as trees and green areas to make the landscape of events closer to natural. Such a large and sufficiently compact green area has positive effects in many areas, such as the positive effects on the population and its health are undeniable.
Autodromo Nazionale Monza
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areas of activities of autdromo nazionale monza 1.1.6
The main area of activity of Autodromo Nazionale Monza is all kinds of sporting events, mainly automotive. It is the track where the most Formula 1 races were organized (all editions of the Italian Grand Prix outside the 1980 season), which only confirms its uniqueness and preparation. In addition to car races, Autodromo also hosts motorcycle races, bicycle races, and running competitions. Due to its location, in the middle of a park, and large green areas, it is an ideal place for recreation: for jogging, using numerous bicycle paths, or other types of outdoor activities. Figure 1.10 to the side shows the main areas of activity and the relationship between them. Depending on the type of event, its rank, and duration, various connections are established between the areas, thus creating more and more new scenarios, which creates an endless number of design and branding possibilities. The most important area is the racetrack itself, where the main event held every year is the Italian Grand Prix. From a design point of view, it is an event that involves a very large amount
of activities at different levels. From the track itself and the organization of space for players and their teams, guests, journalists, to fans who use additional services, hospitality, food, and shop area, to events co-organized in nearby cities, such as meetings with fans of Formula 1 competitors in Milan. The entire track is also influenced by the immediate surroundings, from which Autodromo Nazionale Monza shares, namely the park, its landscape, and possibilities, such as running or cycling paths. In 2018, Autodromo Nazionale Monza appeared in a spot promoting the new BMW X5. The track was recreated on a 1: 1 scale on the sands of the Sahara desert in Morocco (see figure 1.11), complete with all the iconic turns. This is one example of an excellent collaboration between thirdparty brands and Autodromo Nazionale Monza (more collaborations see figure 1.12). This only confirms how great are the possibilities of operating and supporting the brand on various levels, from marketing to design.
AUGMENTED EXPERIENCE
CYCLING SPOTIFY PLAYLISTS
2 WHEELS MUSIC CONCERTS
TOP DRIVING EXPERIENCE
services
4 WHEELS
FORMULA 1
KARTING
RUNNING
sport
BIKE TOUR GUIDED TOUR
entertainment MONZA RESEARCH INSTITUTE
research
education
MTS TECHNICAL SCHOOL DRIVING COURSE KART SCHOOL
AUTODROMO NAZIONALE MONZA
CLOTHING SHOP
recreation RUNNING
ONLINE SHOP
hospitality CYCLING
exhibitions
OPEN AIR MOTORSHOW
retail
MODELCAR SHOP
RELAX
open museum
INFO POINT
HOTELS
CAMPING
RESTAURANTS
EVENT SPACE
CONFERENCES SCULPTURES
ACI STORICO FESTIVAL
AUTOMOBILE CLUB OF MILANO
CURVA PARABOLICA
PARCO DI MONZA EXTERNAL COMPANIES
Figure 1.10 Main area of activities and connections of Autodromo Nazionale Monza - present state
Autodromo Nazionale Monza
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Figure 1.11 The track of Monza in the Sahara Desert
Multiscape: New Design Strategy
1.1.7
external connections AUTODROMO NAZIONALE MONZA
ENI Eni as its exclusive sponsor from 2017-2019. Eni has also become a national sponsor of the Monza Formula 1 Grand Prix as the result of a partnership signed by ACI - Automobile Club Italia.
AUTOMOBILE CLUB MILANO
MASCOT WORKWEAR
FORMULA F1
ROLEX
HEINEKEN MTS MOTORSPORT TECHNICAL SCHOOL EMIRATES
PURE SPORT OMOLOGATO
{
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VISIBLE DIRECTLY ON TRACK
Figure 1.12 Example of brands visible on Autodromo Nazionle Monza and collaboration brands
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1.1.8
place exploration
G-D
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PORTA DEL SERRAGLIO
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viale dei box
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MONZA CIRCUIT RESTAURANT
HOSPITALITY BUILDING
GARDEN LOUNGE
8 SIGNALLING
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vehicul road
tribunes
general admission
pedestrian street
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circuit
RAC FANS
car parking
G-A gates and main entrances
viale per bias
son
representation box
exhibition pavilion food and retail area management office 18
hospitality building
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GATES G-A G-B G-C G-D G-E G-F G-G
G-E
Vedano entrance Mirabello entrance Golf entrance Lesmo entrance Biassono entrance Costa Alta entrance S. Maria alle selve entrance
TRIBUNES
G-F area roccolo area gerascia CURVA PARABOLICA
viale mirabe
llo
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MEDICAL CENTER
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at a s u
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e le v
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viale mirabe
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RETAIL
p a r a b o lic a
SPEED FOOD
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25 24 SIGNALLING TOWER
1 4 5 6 8 9 10 12 13 14 15 16 18 19 20 21 22 23 24 25 26
Centrale Laterale Sinistra Piscina Alta Velocita Prima Variante Esterna Seconda Variante Roggia Ascari Tre Ascari Due Tribuna Amici Autodromo Ascari Uno Ascari Uscita Ascari A Uscita Ascari B Museo Lateralle Parabolica Parabolica Parabolica Interna Vedano Con accesso per disabili Laterale Destra
TORRE SUD
no
G-A pedestrian bridge hospitality
food, drink & retail
CURVES C-1 Variante del Rettifilo C-2 Curva Grande
pedestrian underpass
car underpass
musuem area / historical area
C-3 Variante della Roggia C-4 Curve di Lesmo
C-5 Curva del Serraglio C-6 Variante Ascari C-7 Curva Parabolica
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1.1.8A
internal touchpoints
8
2 4 6 5 3
9 7
Figure 1.13 Internal Touchpoints of Autodromo Nazionale Monza
The map shows the characteristic points of contact of Autodromo Nazionale Monza with users. These are the places that represent and show the values of the track. Starting from the main entrance gate, both for pedestrians and cars (1). It is one of the first signs, information, and touchpoint. The following places, such as the decision point (2) and the
information point (3), are examples of various activities from wayfinding to the place of information and handling. When analyzing these touchpoints, the design and visual inconsistencies are noticed, different graphics, fonts used, and mess and inconsistency in application.
1
9
6
fan club
statue of of juan manuel fangio
signage
vip box
7
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exhibition & food area
1
info point
3
main entrance gate
underpass pedestrian
8
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retail area
sigange
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1.1.8B
external touchpoints
2
RHO FIERA MILAN
1 3
RIMINI
Figure 1.14 External Touchpoints of Autodromo Nazionale Monza
Autodromo Nazionale Monza is a very important point on the map of Italy and the automotive world is also visible outside the Monza area and the track itself. As a brand, Autodromo Nazionale Monza also acts as an organizer of events other than the Italian Grand Prix or as a partner for external events. It is a place that has become the pride of
the Lombardy region and is presented as a must-see for tourists. External touchpoints can be in the form of popup shops with merchandising, event ticket sales, exhibition stands, or places where you can watch live race streaming without being present.
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1
Promotional campaign “Monza. All the doorsteps you want, just outside Milan”
2
EICMA - the Milan Motorcycle Shows
3
Rimini 2021 Meeting
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1.1.9
world race circuits
There are thousands of race tracks around the world, but only 44 of them meet the highest standards certified by the Fédération Internationale de l’Automobile (FIA) and set out in the International Sporting Code, on which Formula 1 races can be held (see examples figure 1.15). Tracks, in addition to meeting the basic standards, are often enriched with additional infrastructure, increasing the level and comfort of racing, but there are also those in which the infrastructure competes and
MONTREAL AUSTIN
sometimes even surpasses the main race track in terms of experience and architecture. In some resorts, we can use additional conference rooms, visit a museum or play golf. Each place tries to show its identity and history, it can be seen as an example of architecture and design, because it is important to remember that sports such as Formula 1 are media sports, where the visual aspect plays a very important role - in 2019 alone the races with Formula 1 was viewed by a total of over 1.922 billion people worldwide.
HEILDERBERG NORTHAMPTON SPIELBERG BUDAPEST
SUZUKA
SOCHI
BARCELONA MEXICO
LE CASTELLET MONTE CARLO STAVELOT
SÃO PAULO
BAKU ABU DHABI MONZA BAHRAIN
SINGAPUR
Figure 1.15 Map of places where Grand Prix are held
MELBOURNE
ARCHITECTURAL AND DESIGN ELEMENTS IN CIRCUIT IDENTITY
CIRCUIT IDENTITY CIRCUIT OF AMERICAS
OBSERVATION TOWER CIRCUIT OF AMERICAS
The main architectural language of the facility evokes the precision, dynamism and performance - driven design of racecars. It is also visually stimulating, incorporating banners, billboards, and bold graphics. The facility was designed by Miró Rivera Architects who introduced an innovative approach to structural systems. The main theme for the entire facility is red steel tubes.
The Observation Tower serves as the centerpiece of the complex, which rises over the racetrack offering sweeping views of the entire venue, downtown Austin, and the nearby Hill Country. The tubes cascade down the side of the Observation Tower to form a canopy for the Amphitheater stage and also frame the Main Grandstand. Evocative of sports cars and movement, this element ties the structures together creating a consistent visual experience.
ABU DHABI EXPERIENCE YAS MARINA CIRCUIT
FERRARI WORLD YAS MARINA CIRCUIT
Inspired by the culture and values of Abu Dhabi combined with cutting-edge innovation and luxury features, the Yas Marina Circuit is the perfect combination of style and function. The Yas Marina Circuit can hold up to 50,000 spectators. There are four grandstands in total, and each is covered and shaded to protect race fans from the desert sun. This is the only covered seating F1 circuit, which helps to make it one of the best facilities in the world for spectators.
Ferrai World is one of the top theme park attractions of the UAE. The fastest roller coater of the world i.e. Formula Rossa. Ferrari World is the first Ferrari based theme park in the world. Being the leading tourist attraction place in the Middle East, the amusement park has received many awards from the World Travel Awards in the year of 2015, 2016.
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ESPACE PADDOCK CIRCUIT GILLES-VILLENEUVE
SUN TOWER YAS MARINA CIRCUIT
Three storeys, the building’s development was completely revised to meet everyone’s needs: the staff of the Formula 1 teams, media, commentators, and, especially, the motor-racing crowd. A bright, modern and private place with a stunning view in a unique spot five minutes from Montreal. The entire first floor is at ground level and the three storeys are accessible by a panoramic, glass-enclosed elevator located at the East entrance. Places in the grandstands and the washrooms are also set up to ensure universal accessibility and make it easier to get around.
The Circuit has a VIP tower that sits at the start/finish line. Called the Sun Tower, it is 60 metres high and affords its guests a luxurious and panoramic view of the entire race track and surrounding features. At the “wings” of tower, the customized photovoltaic system panels have been mounted “taking the track green”.
VISUAL IDENTITY CIRCUIT PAUL RICARD FRANCE
The circuit Paul Ricard is distinguished by track colors, bright blue and red coloring creating an amazing image and becoming the basis for track identification. The blue and red colors are made of a material that provides ultra-high grip.
BIOSPHERE CIRCUIT GILLES-VILLENEUVE
The circuit is located in a part of the city of Montréal known as Parc JeanDrapeau. The park is named after the mayor of Montréal who was responsible for the organization of Expo 67. Bioshphere, seen on every Formula 1 TV broadcast, is a museum dedicated to the environment in Montreal. The Biosphere’s mission is to raise citizen awareness, action, and engagement on significant environmental issues. The geodesic dome was designed by Buckminster Fuller in 1967. In 2021, The New York Times picked the dome as one of “the 25 Most Significant Works of Postwar Architecture”.
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THE SILVERSTONE EXPERIENCE Silverstone Circuit, UK
GIANT FERRIS WHEEL BAHRAIN INTERNATIONAL CIRCUIT
State of the art interactive displays, compelling stories, iconic cars and motorcycles – a journey through the past, present and future of Silverstone and British motor racing.
The Ferris Wheel is 42 metres in height and it boasts 27 gondolas from where those inside can marvel at the scenic views of the surrounding area.
F1® ESPORTS GAME ZONE BAKU CITY CIRCUIT
High-tech simulators located at the F1® Esports Game Zone provide an experiential insight into of the world of Formula 1 racing. This is an exhilarating chance to race on the Baku City Circuit and venture to beat F1® drivers’ real speed records while seeing the track through the eyes of a professional F1® racer. AMUSEMENT PARK - MOTOPIA SUZUKA CIRCUIT
Amusement park called Motopia, targeted at kids from 2-10 years old
DRONE TOURS CIRCUIT GILLES-VILLENEUVE
With the latest technology Drone Tours enables you to have an aerial view so you can see the beauty, breadth and splendor of Parc Jean Drapeau’s various sites, even while your feet are still firmly planted on the ground: this is done through cuttingedge professional drones and virtual reality glasses THE MEMORY BOARD BAKU CITY CIRCUIT
To share views on the most remarkable moments of Formula 1 Azerbaijan Grand Prix or simply leave a message or record future aspirations and wishes, visitors of all ages can approach The Memory Board
Autodromo Nazionale Monza
ADDITIONAL AMENITIES OUTSIDE THE RACETRACK
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SOCHI AUTO SPORT MUSUEM SOCHI CIRCUIT
ZIPLINES BAHRAIN
The exhibition of the museum features about 50 racing and sports cars, including a real Formula 1 car. The museum also has several thousand exhibits - car models, a collection of caps and helmets, overalls of racers and mechanics of different racing teams, a Formula 1 photo gallery, a collection of Ferrari and Corvette dolls, paintings of several artists and much more.
Zipline over the karting track and main straight of COTA in order to see whole COTA from a different angle. The Zipline is open during standard COTA Karting hours consists of a pulley suspended on a cable and is made of stainless steel. CASINO DE MONTREAL CIRCUIT GILLES-VILLENEUVE
SPA-FRANCORCHAMPS CIRCUIT MUSEUM SPA- FRANCORCHAMPS CIRCUIT
The Museum, located in Abbey’s magnificent vaulted cellars, retraces the prestigious history of the track. Original visual documents, educational panels and a continually renewed presentation of exceptional vehicles retrace the passion of the competition, from the pioneers to the present day: Ferrari, March, Chevron, Porsche, Cooper.
Discover exceptional activities, neverbefore-seen promotions, light up your taste buds with flavourful menus and enjoy an avalanche of flavours featuring origine québec products. The Cabaret of the Casino de Montréal has a diverse program of shows, unique musical performances and even boxing galas. KUR GARDEN SUZUKA CIRCUIT
Natural hot spring Kur Garden. Bathouse. Open air bath. Sauna. Heated swimming pool. Relaxation area.
RACING THEATRE SUZUKA CIRCUIT
F1 OUTDOOR GALLERY BAKU CITY CIRCUIT
The ttraction for all family members, from small children to adults can enjoy together and that provides them with various activities where they can get the real feel of the motorsport such as “Main Theater” as a main feature where people can experience the overwhelming speed and power that the racing drivers actually watch and feel using the sensory sound system that conveys the sound with the vibration, sound effects and the 19m-widescreen.
F1® Outdoor Gallery located in the F1® Fanzone area offers a glimpse into the history of the Formula 1 Azerbaijan Grand Prix as well as giving attendees an opportunity to familiarize themselves with F1® Drivers and seeing their best captured moments during the race by exhibiting their portrait and race photos. MUSEO MULTIMEDIALE AUTODROMO DI IMOLA - CHECCO COSTA
CULTURAL LOUNGE BAKU CITY CIRCUIT
The sports and concert venue built in 1993 inside the Autódromo Hermanos Rodríguez. Since 2000, it has been used as a baseball stadium. The Azerbaijani Cultural Lounge has been developed to introduce Azerbaijani culture, traditions, and customs to visitors from all over the world, while also granting locals an opportunity to celebrate their cultural heritage within the frame of this grand international event.
ACQUA ADVENTURE SUZUKA CIRCUIT
Swimming pool area. Tube ride. Adven Putti. Adventure Wave. Slides. Adventure River.
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STRENGTHS, WEAKNESSES, OPPORTUNITIES, AND THREATS
1.1.10
swot analysis
Thanks to the SWOT analysis of Monza’s circuit, based on the simple framework, it is possible to summarize all conducted research and highlight realistic points of interest for further development (see figure 1.16).
Autodromo Nazionale Monza due to the annual Italian Grand Prix is recognizable all over the world, not only for motorsport fans. Set in a beautiful park, in a huge area between forests, it makes it an ideal place for families with children to spend their free time, despite the noise and pollution associated with car racing. The Autodromo Nazionale Monza is the third purpose-built circuit in the world and has witnessed many spectacular victories and discoveries in the field of technology, such as the electronic CPE safety helmet or handrail. This is the place where the history of motor racing has been written. The track is very conveniently located, it has a close connection with Milan (approx. 20 km) makes it easier for tourists and residents from further cities to reach the track while allowing them to discover the charms of Monza and the park. Nevertheless, getting directly to the track is not the easiest task. The lack of a consistent and designed system of wayfinding and other information along the way is problematic. The same goes for finding the virtual path, that is, the website. Nowadays, the virtual and physical
layers constantly interpenetrate, which, with an unfriendly designed system, makes it difficult for users to travel, sometimes may even discourage them from visiting or may affect the general perception of a place. When we manage to reach our destination, we will encounter a diverse landscape scattered with buildings and smaller structures that are not consistent with the entire narrative, look a bit random and make navigation between facilities more difficult. Innovation and passion for experiments for which the track is well-known are not visible in the architectural layout and design solutions, which gives the impression of stopping in time. On the other hand, the number of infrastructure and the vast area along with the variety of buildings, from old mills, villas to a golf course, mean that the Autodromo Nazionale Monza has endless opportunities to develop its calendar and types of events on a different scale - world, national or regional, including inviting foreign tourists to participate, residents of Lombardy or close residents of the circuit. This leads to the opportunity to connect the existing and design a new, coherent infrastructure to serve guests
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SWOT ANALYSIS
S n en iz e pa te r w e b sit e r b r k a n ra i n ra d au nd le b u t o d ro m an n o o i ld in nt d t o g e n i n l r te ta fra y fo rn in r F1 m str al ins ent ucture titu , hos p tio ns itality) ga
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Figure 1.16 SWOT Analysis of Autodromo Nazionale Monza
and tourists, families with children, rally drivers, and their teams or journalists. Then a better combination of the virtual and physical layers will facilitate and attract more users, and at the same time build a solid foundation to strengthen the brand and ensure continuity of contact with fans around the world. However, being a worldwide recognizable F1 track also has some limitations - when races are not taking place, it is difficult to attract tourists to the facility. The lack of additional
infrastructure, e.g. dedicated to the history of the place, or entertainment venues with interactive experiences, means that the race itself may not be a sufficient reason to visit the track. The huge park and the surrounding nature mean that, despite the beautiful views and diversity of fauna and flora, there may be some limitations to design the new infrastructure, as in 1922, when building the track, controversy arose due to the “artistic, historic and landscape value”.
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1.2
seeking the question
“The image originates only in part from a physical reality and is based on wellworn prejudices, desires, and memories that take shape in the collective memory” (Vermeulen p.5) In line with Vermeulen’s words, also my design process started with the images and terms describing Autodromo Nazionale Monza, which I have collected in my head for a long time. Before starting the project, I have already been familiar with the events held at Autodromo Nazionale Monza, but only on a virtual layer, from the news on the internet, through some social media posts to Formula F1 race streaming. It was just the representation of the place, which gave me some first perception. Nicole Porter describes in her book that the goal of the initial process of analyzing landscape is not to discover the true image of a place, but rather to discover and observe how the different multidimensional elements complete each other and to explain a dialogue that causes to perceptions of this landscape:
I explore (..) as an abstract ‘brand’, a pictorialised image, a televised landscape, a cinematic landscape, and a collection of designed and managed physical sites. These ideas and artifacts are at times virtual and at times actual (Porter, p. 2) For that reason, my process starts with the expectations about the place, ensuant the images I have collected. I have already created some illusory mirror of the place in my mind. When I have first visited Autodromo Nazionale Monza, I was very exciting but with time the feeling started to weaken and to transform - the excitement went into insufficiency. I missed some elements in the whole image and experience of this day. After some time, I couldn’t find anything to identify with. The second time I was visiting the site, I had an occasion to interact closer with different spaces that I couldn’t see before, to get familiar with the history of the place, and watch carefully the details. That was the time when I started to link together my first expectations with interaction, to create my full perception of the place.
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ve oti m to au ic tor his it must vis dream
visitn g tak i n gp th sh e even art in t so opp uv in en g irs
Figure 1.17 Site visiting process
TIO N
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AUTODROMO DI MONZA
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Autodromo Nazionale Monza
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1.3
site visiting
Figure 1.18 Site visiting - experience map
PATH TO AUTODROMO ENTRANCE
TRIBUNES
tribunes
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0,6 km
ENTRANCE GA T
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Diagram 1.18 shows my observations and experiences caused by my visit to the Autodromo Nazionale Monza. The first characteristic element is the landscape. The circuit is located in the middle of Parco di Monza, the largest walled park in Europe with an area of over 688 hectares (6.88 km2). Huge green (1) spaces make you forget you are on the racetrack, are also places where you can breathe and relax between activities. To the north of the track is Bosco Bello’s wooded area, which intersects with the track to form segments. The large area also makes
it difficult to find between activities, despite the charming green terrain, there are no clear road markings and characteristic places, the so-called landmarks. There are markings and maps, but it is not one interconnected system, but rather randomly spaced signs, not stylistically coherent, which makes the track seem literally hidden among the trees. What’s more, during major events, such as Formula 1, some of these green open spaces on the outer sides of the track turn into parking lots, which makes it difficult to constantly arrange them.
AUTODROMO EXPERIENCE
FACILITIES
VING SIM RI
RETAIL AREA FOOD AREA
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TOP ATS
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TRIBUNES
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4 7 3
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1
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Figure 1.19 Site analysis of Autodromo Nazionale Monza
While in summer and spring, greenery fills the space and creates a landscape pleasing to the eye, in winter the space seems empty and not very interesting. The communication between the points is not clear and intuitive enough (2), starting from the Monza park area and ending at the racetrack itself, it gives the impression of a lack of continuity in the narrative and connections between various activities. Connections that occur are irregular long paths, tunnels (3), bridges (4), giving the impression of broken points in the terrain. Autodromo Nazionale Monza was built 100 years ago, which is visible
in the buildings. The infrastructure is outdated and gives the impression of randomness. Various buildings and elements are scattered over a large area. It is not entirely in line with the spirit of the Autodromo Nazionale Monza. A visit to the track itself makes an amazing impression, where you can feel the history at every step (5), although insufficiently exposed and described for visitors. The sounds of racing cars coming from the track enhance the experience and make the stay at the Autodromo Nazionale Monza unique.
1 2
3 4
5 6
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Autodromo Nazionale Monza
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During the process of the research, I was interested in how my first perception of the place has changed according to the real experience, and how it was actually evolving with time. How the place can be differently understood just because of missing or even of the excess of some information and elements, how to find the right balance in the process of building a common language for space or product? Which elements can have an impact on our relationship with place and how it can be enriched to experience the brand on different levels?
team research
individual research
main topic
main question
* team research - general site anlysis / scale: urban+site * personal research - site visit + analysis / scale: site+humane
{
main topic
main question
branded environment
How to translate Autodromo di Monza’s identity into a physical elements that enhance the place?
That’s why my first analysis of Autodromo di Monza consists of 3 main key terms characteristic to the branded environment, however at that time I wasn’t aware of it. I divided Autodromo Experience into three parts: the identity of the brand - how people imagine Autodromo di Monza before visiting the site, what they think and what they expect, then how this image is changing according to visit the site and experience the circuit and finally how all this process creates their overall experience and final perception of Autodromo di Monza. From this main topic of the research I asked myself a question how the designers can create and implement a coherent image thereby keeping the spirit and the values of the place, is it possible to create a flexible framework that can be used for the company as big as Autodromo di Monza.
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1.4
main question
how to translate the identity of autodromo nazionale monza into a physical elements that will enhance the place and create the new posibilities?
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INDIVIDUAL RESEARCH - PART B
question oriented research 1.5
This part of the research is a consequence of the first part of the exploration and the question that emerged from these observations. The initial analysis was conducted in a group, whereas this answer is individual and will focus on a selected topic of the intervention which is the broadly understood topic of branded environment. Moreover, analyzes of the site itself have also been renewed, this time in the context of the main focus.
B
{
branding history brand definition key terms brand experience environmental branding goals place experience
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BRAND HISTORY AND DEFINITION
1.5.1
history of branding
{
brandr* /BRÆNDR/ NOUN
fire, pole, swordblade /BRÆNDR/VERB
to burn
Nowadays, terms such as brand or branding are widely used and subconsciously everyone knows what they refer to. Interestingly, the original use of the term “brand” comes from Old Norse and means no more, no less, but “to burn. It was used in the context of cattle owners to distinguish a property through a unique mark burned on the skin of the animal. It was a way of marking the property. However, the practice began in Ancient Egypt as early as 2,700 BCE, where we can find scenes of cattle branding in Egyptians in tomb paintings. Another way of use was to mark manufactured things by potters starting in China, India, Greece, or Rome with engravings to describe materials and place of production. One of the earliest ceramics comes from China from 4,000 or 5,000 years earlier. Another example of using the brand was marking with symbols the bricks produced to build, among others, pyramids so that it was possible to recognize which quarry they came from and, interestingly, to stand out among other bricklayers, which translated into remuneration. In the 16th century, Hernán Cortés introduced a brand in Mexico, which was the beginning of branding in North America - he used three Latin crosses to mark his cattle. With time, each cattle owner was obliged to have a different sign, and each brand had to be registered.
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Figure 1.20 Early Texas Cattle Brands - Portal to Texas History
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Figure 1.21 Registered in 1884, Samson Ropes is the oldest US trademark still in use today. Via The Council of Industry
INDUSTRIAL REVOLUTION The 18th and 19th century in Europe and United States coincided with the period of great changes in manufacturing and technological transformation which was the industrial revolution, which was associated with an increase in production and products available on the market. Mass production resulted in a greater amount and variety in choice, but also the appearance of competitors on the market and thus a fight for the customer’s attention. In 1881, the US Congress passed the first trademark law, which allowed companies to submit and certify their products as their own.
NEW ERA The 20th century is called the century of technology and innovation. For the first time in history, the pace of implementing new solutions and inventions has reached an unprecedented level. It was a continuation of the industrial revolution that started in the nineteenth century, meeting the needs of rapidly expanding societies. The mass character began to count, the individual recipient and the manual manufacture did not count. It was also a time of world war, which on the one hand showed the black side of technology when it slips out of human control, but on the other hand, they fueled incredible technological progress. At that time, it seemed obvious that the massmassing of society, the so-called McDonaldization, was the only suitable direction once a certain threshold was reached. This period began with the creation of several brands that are still icons: Coca-Cola (1886), LEGO (1932), and Ford (1903), they are pioneers, trendsetters, and the first examples of brand building (see figure 1.22 & 1.23) These were the times when newspapers and printed materials were the main medium used, which contributed to the development of illustrations, logos, and words. Over time, brands noticed an increase in competition, which forced them to focus on sales techniques, including creating a specific look, personality, and consistent images. The first example where brands started paying attention to promoting an idea and concept rather than the product itself was Apple and its 1984 advertisement inspired by a George Orwell novel. Since then, companies have paid attention to building long-term strategies through consistent visual identifications, not just one-off campaigns.
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Figure 1.22 Ford logo, 1903
E X PLO RATI O N
1903 - 1907
Origins of the Ford Signature 1903 The first Ford logo was different from the simple, streamlined image used throughout the twentieth century. This one was a circle with a fashionable art nouveau border. First It was created by the company’s first chief engineer/designer Childe Harold Wills. Ford was looking for a logo for his vehicles, so Wills, a friend of Ford’s who designed and printed business cards, used the calligraphy from his own cards to stylize the letters - it is not a Henry Ford’s handwriting as many wondered.
1934.
Figure 1.23 Lego, 1934 In 1934, Ole’s company and its products adopted the name LEGO, an abbreviation of the two Danish words “leg godt,” meaning “play well.” The first company logo was used on correspondence, shipping labels, and other printed materials, but not yet on toys, which was used the next version of ink stamp from 1936.
WHAT’S NEXT? Currently, branding has crept into every activity, it is not only used by large companies with a large base of designers, strategists, and marketers to promote the product. Branding is used by service companies, sales companies, and even private individuals to build a so-called personal brand. Anything can be a brand. It is more and more difficult to stand out from the crowd, and the logo alone is not enough to appear on the market. What’s more, nowadays we have new media such as Instagram and Facebook that have taken a huge part of the market, as noticed by companies, they use customers to generate advertising, so-called opinion-based advertising. People choose a product or service not only based on appearance, but also based on opinions issued by other users. The key to reaching the desired target group is to connect with the customer on a very personal level, it can be done using various touchpoints, from advertising, packaging, website to interior and space design.
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BRAND DEFINITION AND KEYWORDS
1.5.2
what is a brand?
It is commonly believed, that the term brand refers to a name, graphic symbol, or tagline which characterizes a given product, service, or place and thus stands out from the competition. But it is not entirely true. The above-mentioned points are just some of the tools used to define and shape how the brand will be perceived by the audience, they are used by designers, marketers, advertising teams, or strategists. Sometimes, the term branding is misused with the term ‘company’ or ‘image’. A brand means much more than that, but even the brand specialists, brand designers, and broadly understood branding experts, do not have a single, strong definition.
brands three primary functions:
navigation
brands help consumers choose from a bewildeirn array of choices
engagement
reassurance
brands communicate the instrinsic quality of the product or service and reassure customers that they have made the right choice
brands use distinctive imagery, language and associations to encourage customers to identify with the brand
David Haigh, CEO, Brand Finance
“A brand is best seen as a cluster of perceptions, and the key challenge is to extend those perceptions to every point of contact with customers.” Barry Shepard, president of SHR Perceptual Management
SO, WHAT IS A BRAND? Nicole Porter, in her book Landscape and Branding, describes a brand as an intangible asset which a brand strategist seeks to increase by taking the tangible material object and by adding abstract association values which in the consumer mind create some realistic meanings
(2016). Whereas the sociologist Celia Lury highlights that the brand is a relationship between products or services, however not itself fixed in time or space. According to her, the brand is a stage for creating the activities - a mode of organizing it in time and space.
OLD BRAND MODEL
OLD BRAND MODEL
NEW BRAND MODEL
Figure 1.24 New brand model from Marty Neumeier, The Brand Flip, 2016, Liquid Agency
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NEW BRAND MODEL
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The brand consists of a strategy that is the rational part, but a large part of the brand is the emotional side, it’s elusive. It is a very difficult part to grasp because of how it interacts with people, what emotions it evokes. It is said that a brand is defined by the emotions that come to mind after interacting with it. The brand needs to be expressed, it has to stand for something, create and maintain relationships. For a brand to be alive, it’s necessary to have an audience, it must talk to the consumer on various levels. It can be considered that a brand is an outstanding promise that is a representative form of a given business, service, or sector. This also results in a new focus on brand building described by Marty Neumeier (see figure 1.24). In the modern world of social media, the strategy prepared and developed in advance by marketers does not fully work. Instead of creating a whole brand at the beginning, companies now create consumers, who then create the brand, as a result of which the brand, built by the customer, maintains and promotes the brand. O’Guinn and Muniz (2010) write about the significance of creating meaning in branding:
“Meaning defines brands, and people make meaning. People make meaning through social means: they make meaning through their interaction, through the institutions they have created and maintained, through accommodation and negotiation with marketers, through rumors, through politics, and often in reaction to a disruption in the social sphere. Brands are meaning” (p.133) More and more often it seems to be true that the brand is not what you say - the brand is what others say about you. Customers have stopped buying the brand itself and its products - they more often are involved in the whole process of creating them, they join and set new paths of direction. Brands can use different levels to build and maintain relationships with potential audiences. Those who are responsible for the strategies must use them consciously and be able to observe and in the event of a sudden change in the market adjust their intensity. Summing up, branding includes all the tools we use to become recognizable among others.
“a brand is essentially a container for a customer’s complete experience with the product or company” sergio zyman
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MAIN DEFINITIONS OF IMPORTANT TERMS
1.5.3
key terms
brand DNA components
according to designit
brand vision
brand values
brand personality
the vision is the ‘why’ of the brand. It describes the brand’s ambitious and reason to exist.
the basis of a company and its culture. They function as principles that guide the brand’s behaviour internally and retaltionship to customers
the result of assigning traits and characteristics to a brand to define its essence and emotional appeal
Figure 1.25 Brand DNA components, Designit
BRAND IDENTITY Brand identity builds upon the strategy, DNA and value proposition and consists of two interconnected components. The verbal and visual experience (tone of voice, brand fundamentals graphic and application of it). The second is the product and service experience (services, application of product, spatial guidelines) BRAND IMAGE A brand image is the perception of the brand in the mind of the customer. It is an aggregate of beliefs, ideas, and impressions that a customer holds regarding the brands. Brand image is the way the customers views the brand. BRAND DRIVERS Brand drivers are more detailed and descriptive aspects of the brand. They come in different forms. They could be functional or emotional benefits taht the brand delivers. They could be self-expressive benefits. How does the customer perceive themselves when consuming the brand. What do they identify with? It’s a list of phrases or sentences about the brand that stretched the brand’s corse purpose. BRAND ASSOCIATIONS Are the keywords driving the visual and verbal communication across digital and physical touchpoints
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MAIN ELEMENTS OF BRAND INTERACTION
1.5.4
brand experience
We experience the brand practically at every step. Every little thing we do for someone is much more valuable than just a promise to do these things. Even the smallest of these elements make up the overall customer experience (see figure 1.26), and build an image that is then interpreted as the brand image. One of the components of brand experience is a touchpoint. It is a moment when the customer interacts with a brand, service, or product. The number of touchpoints is huge and multi-level, and using them to our advantage depends only on our awareness. The brand is a unity of the abstract values, so for the entire perception and experience of the brand to be consistent and logical, all touchpoints should be cohesive. The most popular touchpoint strategy is “click and mortar”, as described by Martin Lindstrom. It is a business model that has both online and offline operations, ensuring that the brand model is consistent and complement each other. The points of contact can be divided into tangible and non-tangible.
MESSAGING & TONE PRODUCT & SERVICE
TOUCHPOINTS
BRAND EXPERIENCE PERSONAL INTERACTION
ENVIRONMENT
BUSINESS OPERATIONS
Figure 1.26 Brand Experience (adapted from Orchestrating designable touchpoints for service businesses, 2013)
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Figure 1.27 Designable Touchpoints (adapted from Orchestrating designable touchpoints for service businesses, 2013)
Moreover, some of these points are possible to design, while others, since we are dealing with emotional experiences, cannot be predicted and prepared in advance, it depends on the human factor. According to research the amount of dependence clearly adjust to the service provided (Lee B. K., Chung K., Nam K., 2013). It was found, that services that require physical servicescapes showed high dependence on designable touchpoints visible on figure 1.27. Interestingly, we live in an era where the Internet and social media play a large role, more and more companies regarding services and products use them to capture the customer’s attention on their product, but according to research conducted by BrandTrust in Germany, Austria and Switzerland, despite the digitalization, it is still human contact and physicality which is the most important touchpoint that influences our opinions and decisions. However, we need to remember that as far as we can design the strategy, spatial program, or urban planning, we cannot fully design experience - it can be only triggered. As Pine and Gilmore said: “Goods are tangible, services are intangible and experiences are memorable.” (1999, p.171)
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TANGIBLE EXPRESSION OF A BRAND
environmental branding 1.5.5
“Branded environments extend the experience of an company’s brand, or distinguishing characteristics as expressed in names, symbols and designs, to the design of interior or exterior physical settings. It uses space as a physical embodiment of the brand to create a ‘brand space.’ This is achieved through architecture, interiors, lighting, graphics, landscape...” Hulten Bertil "Sensory Marketing: The multi sensory brand-experience concept"
To put it simply, branded environments are intentionally built environments that serve as the physical embodiment of a brand. It is an intersection of many disciplines such as design, marketing, and psychology. From architects, landscape, exhibition designers to graphic, communication, service designers through advertisers and economists, to environmental psychologists who works interchange on many layers. Architecture and landscape design seem ideally fit to brand management strategy, because of its aesthetical and ideological possibility to express abstract and intangible assets of the brand. Christian Mikunda (2006) sum up the branded environment as PR that can be walked into and stepped on (p.3). The branding environment is one of the elements of the complete experience
creation, laying in many dimensions. How place is communicating with us and what we see first and associate with the brand, such as logo or buildings are just the surface layers of a more systematic process of identity construction and management. To go even wider, architecture should be considered as a part of a larger system of economic development, technological advancement, and social changes (Anna Klingmann, 2007) which are interdependent with each other (see figure 1.28). Nowadays we live in a time when everything becomes a brand: product, services, interiors, landscape, and even people. Architects, landscape designers in cooperation with brand designers contribute to highlight these mechanisms of economic and cultural systems.
i z a ti o n
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Figure 1.28 The progression of economic value via The Experience Economy by B. Joseph Pine, James H. Gilmore (2011)
EXTRACT
{
According to Anna Klingmann1 architecture and branding have developed in recent decades a very close relationship. Leading brands from fashion, IT, automotive sectors employ architecture as a central part of their marketing strategy. But at the same time architecure and urban planning also borrow from branding, to mention only cities like Shanghai, Dubai or Bilbao. Through branding, architecture has power to create affirmative spaces that prompt memories, discoveries, and desires. 1
Brandscapes: Architecture in the Experience Economy by Anna Klingmann
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With time we moved from a one-sizefits-all to customization economy. It is visible that from questions “what it does” we approach to “what you feel” - which is statement behind experience economy, observed first by Joseph Pine and James H. Gilmore in 1998. As Anna Klingmann notices, this shift demonstrates that despite form and function is still an important factor in architecture, personal identity and feelings become more crucial criteria in architecture’s value and that architecture can act as a catalyst for experiences and perceptions (2007, p.1-2). It is possible because over the years our economic change from production to consumption and right now brands, for some time, have an important role in shaping our culture, creating our preferences and choices by setting up the trends. It is also a way due to the growing competition in the global market, the need to stand out and reach an increasing number of interested consumers is also growing, to which one of the answers are various types of branded environments, from place or destination branding to a smaller scale such as a specific event or a single store. (Page & Hall, 2003,p .234) As a result of this process, we have been observing for a long time that large corporations use architecture as a central point in their marketing strategies, standing high in the brand’s priorities. Just to name a few important companies brand such as BMW (BMW
Welt in Munich designed by Coop himmelb(l)au), Prada (Prada Epicenter New York designed by Rem Koolhaas, which is part of OMA / AMO’s research into shopping and brand spaces), or Mercedes (The Mercedes-Benz Museum designed by UN Studio). Generally speaking, we can observe this trend primarily in corporate architecture through flagship stores which are the physical representation of the brand. But in the same way, architecture and urban planning have adopted branding tools for their own benefit. The new definitions appeared such as place branding and destination branding, where strategies are used to promote landscape, city, place, country, or nation as an image and product to be experienced. As Marco Vermeulen said: ‘
It is not the city but the image that has to be planned’ (2002). As the most famous example, we can think about the Bilbao effect, which was meant to be “a transformational project”. As Juan Ignacio Vidarte, the museum’s director said about this project:
“it was meant to be to be “a driver of economic renewal”, an “agent of economic development” that would appeal to a “universal audience”, create a “positive image” and “reinforce selfesteem”.
LANDSCAPE AS BRAND Branded environment as a physical landscape is designed and managed to highlight a company’s identity and values through different tools, for example, some events and activities that take place at the site can change and overlay the particular frame and narration that can shape our experience about the place itself. What Wernick
explains better, when all these branding tools are used consciously, the border between design and advertising (branding) dissolve:
“Advertising transfers meanings on to a product from the outside, through repeated imagistic association. Through design, on the other hand, that same signification is stamped on
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Figure 1.29 Landscape Formation as situated within the circuit of culture by Natalie Porter adapted from circuit of culture model by Du Gay et al. (2013)
representation
regulation
landscape formation
consumption
identity
production
identity: meanings, narratives notions of the place representation: artefacts being produced in different medium (visual identity, interior design ...) regulation: frameworks: legislation, standards, planning, copyright consumption: audience / users: experience subjective interpretation production: production process and producers: architects, designers
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to it materially […] In this integrated system of production/promotion, the commodity and its double – the commodity-sign and the promotional sign – are deployed together in a mutually referring and self-confirming way” (1991 cited Porter 2016, chapter 1) To represent the brand environment concept, the analogy of circuit of culture (Figure 1.29) will be used model proposed by Paul Du Gay et Al in 1997. The theory suggests that in analyzing a cultural text or artifact is important to take into consideration five components: representation, identity, production, consumption, and regulation. He illustrated culture as a relationship between different elements in culture and in the case of branded environments and landscapes, branding acts as a catalyst to manage and connect all these factors together. Moreover, it is used not only to invite people to visit the place but what’s more important to collect memories and create experiences. But what we need to remember is that all these tools will not eclipse the real situation of place or architecture, people don’t like to be manipulated and our brain can find the difference, so it is important while creating the images and associations be as much realistic to the situation as possible. It doesn’t work to impose the quality or identity of a place entirely from scratch. As Kavaratzis (2008, p. 46) states:
Applying corporate branding to places demands treatment of the place brand as the whole entity of the place-products, in order to achieve
consistency of the messages sent […] it demands associating the place with ‘stories’ about the place not by simply adding them […] The ‘stories’ need to be built in the place and afterwards communicated to all audiences. In this situation, branding should be seen as an added value to the existing images of a place that only remakes and reinterprets, while making positive values and associations underlined and negative ones hidden. (Anholt, 2004: 34; Anholt, 2002: 232). It can be assumed that A place becomes a brand - in this case a brand environment when an authentic image of the place, in terms of organization, architecture, and landscape, is deliberately combined to show and emphasize the valuable assets. Brands are very often expressed with symbols and abstract terms, but in the end, in order to get to the customer’s awareness and settle in it, they should take a tangible form this makes the brand believable. In the case of place branding, we are dealing with architecture, design, furniture that is a physical manifestation and a touchpoint with the user. They allow you to experience the place deeper and create a relationship between user and place. As in the case of the division into hardscape and softscape, these elements can be called the hardware of the entire branding system (Hall M.C., p.236) Govers and Go implement this principle in their brand essence triangle (see figure 1.30), where they show the dependencies necessary to be successful in designing a branded environment.
The first and very important component of this figure is the essence of the branded place, the identity of the place, which consists of the above-discussed story of the place, experience, and the corresponding values. on this basis, we can only build and attach the rest of the elements. The second component is place analysis, which consists of ideas about the place and the image transformed into our perception. The third element mentioned by Govers and Go is implementation, i.e. building
a branded environment together with appropriate communication. Thus, they emphasize the role played by these three elements that should complement each other, and only then will the branded environment have the right message and be realistic in reception: infrastructure (physical place) corresponding to history (place identity) and enabling the creation of images of place and perception (experience).
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PLACE BRAND ANALYSIS
2
Figure 1.30 Gap-bridging place branding guide. by Robert Govers and Frank M. Go (2009)
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the importance of branded environment 1.5.6
goals for branded environments:
inform
engage
inspire
encouraging people to take action. Involve people and m ake them f eel t he part of the brand
Figure 1.31 Goals for branded environment
People can feel spaces on many levels. When using space, our body and brain perceive it, very often unconsciously and independently of us, among others thanks to sight, hearing, smell, touch, but also senses such as gravity, scale, and time. This makes the physical space very direct and works very deep within us. This is a form of physicality that is unique and we cannot find it in other mediums. As Zevi described in his book:
there is a physical and dynamic element in grasping and evoking the fourth dimension through one’s movement through space. Not even motion picture (..) possess that mainspring of complete and voluntary participation, that consciousness of free movement, which we feel in the direct experience of space. Whenever a complete experience of space is to be realised, we must be included, we must feel ourselves part and measure of the architectural organism (...) (Zevi 1974, 59-60)
These are one of the strongest factors that trigger and support the experience and thus allow for the creation of a very strong relationship between the brand and the user, not always on a conscious level. That’s why branded environments will be more and more used by companies to create intimate relationships. It is confirmed that physical representation of the brand is more effective and powerful than the traditional form of communication, and can reach deeper and resonate longer with the user’s awareness. Moreover, physical landscape is something tangible and “real”, and it is easier to understand by the human brain, they are more convincing. From the brand side, a branded environment can facilitate the transfer of the values and highlight important points in the history of the brand. Thanks to the appropriate strategy and a coherent project, the brand has the opportunity to tell its story at the same time including the client as an actor on the branding scene. With properly selected ingredients, it is possible to create unforgettable experiences, which builds a customer-brand relationship and strengthens attachment to the brand. It is also one of the main factors for which the client returns - to experiences that are unique in his understanding. Physical spaces also include intangible elements, such as customer service, the tone of the conversation, or the clothes of the staff. These ingredients also have the ability, when properly selected,
to convey the brand’s narrative and emphasize the physical landscape. Thanks to all these elements, the brand gives the impression of being coherent, believable, and leaves a long-lasting impact.
THE NEGATIVE SIDE OF BRANDING IN ARCHITECTURE AND INTERIOR DESIGN Even though places and landscapes, due to their location and setting in time and space, can never be identical - by definition they are unique, we meet more and more often with homogenization of architecture, landscape, and culture. Branding, which is so deeply rooted in contemporary social, cultural, and consumer life, also contributed to this. Despite all the positive aspects and the branding tool that makes it possible to make the brand identity come true and facilitate contact with the potential user, very often it does not fulfill its function, as Anna Klingmann mentions in her book:
by imposing standardized forms and formulas on the urban or suburban landscape. Today’s brandscapes exemplified 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 offerings and aesthetics (p.3). By building in a fast and copying way, we
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also contradict the branding strategy itself, which is designed to build longterm solutions. Through the buildings of icons, projected by the architects of stars, architecture becomes in many cases a commodity to which we give a short-lived life and a blurred image to brand. Another threat to the visibility of the brand in architecture is aesthetic abuse and advertising closely related to it. The facade of the building is a place where publications such as graphics, advertising, or the way of finding meet the architecture creating a comprehensive multi-level system of communication
in urban space (Archigraphy, p. 31). We can distinguish three categories of their relationship with architecture: selfadvertising, third-party advertising, and wayfinding. When it comes to branded environments, the self-advertising category is closely related to the brand, which shows the exact function of the building on which it is located. The problem may be the accumulation of so-called self- advertising buildings in space and thus the introduction of information and visual chaos, which leads to a lack of control in a given urban location.
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1.5.7
place experience
The physical environment is one of the touchpoints of the whole brand experience, it is one of the many media through which we can express our brand, identity, and communicate with customers. Designers can use different configurations to best engage the user, such as graphics, architecture, photography, material, fragrance. (Sean Adams, p.6). The messages we send as designers can be direct - for example, consisting of specific words and describing a specific situation, or directly using elements that evoke associations and build the overall picture. It is important as a designer to be aware of how our choices of appropriate media can shape, influence the user’s awareness and even manipulate his perception of the real environment. This is all the more important as Vermeulen (2002) noted:
the image originates only in part from physical reality, it is based on prejudices, desires, and memories which shape a complete idea of the place in the memory. So how can space affect our perception and perception of reality?
It is important to first understand how people conceptualize and process the architecture. What distinguishes space design from other forms of communication is that to experience space, we do not use only five senses. Our experience of space is built on many levels, there are multi-sensors. It is often mistakenly assumed that the character of space is built on the visual layer and that it has the greatest impact on our perception of architecture. In fact, it is the sum of many factors and infinite small elements that together create what we call the atmosphere, feeling, character, or ambiance of a place. (Pallasmaa, p. 19) Beyond the five basic senses described by Aristotle smell, sight, touch, taste, and hearing, according to Barry C Smith, it is supposed that as humans we can have between 22 and 33 senses. Some of them are extremely important when feeling the space that surrounds us. One of them is proprioception, the sense of balance, thanks to which we know how our body is arranged in space. The next ones are, among others, gravity, motion, scale, duration - they also have an unimaginable influence on us and our perception. Therefore, it can be
“The richest experience happen long before the soul takes notice. and when we begin to open our eyes to the visible, we have already been supporters of the invisible for a long time “ (Gabriele d’Annunzio, quoted in Bachelard 1983:16)
said that we perceive architecture and the environment with the whole body: eyes, ears, nose, skin, and muscles. However, the brightest element is the human brain, which collects all these elements and works on them in many ways using cognitive tools. One such tool is cognitive segmentation, which allows the different stimuli perceived by all of our senses to be segregated and then combined into larger, meaningful sub-events and built up event models of any situation in order to understand our position in the narrative (Kolb, 2019) This extraordinary ability to notice, read and then combine all these senses so that we can feel the atmosphere of the place, as Tony Hiss writes, it is simultaneous perception - the system we use to experience our surroundings. It is the only mechanism, we have inside, that helps us to connect and combine all the responses of all our senses, any
change in our surroundings which our senses can register. From changes in light, colors, materials, sounds, and smells. (p. 15) Three spatial-cognitive sequences, which we can use to make that mold human experiences and perceptions via bodily comparison: time, scale, and movement are the advantage and precautions of designing space over other media. (Kolb, p.10) As mentioned earlier, architecture is a mirror for economic, social, and technological development. It is interesting how, besides the human senses, location, culture, origin, and language influence our perception and emotions of new places, and how these experiences shape the reception. It is known that culture reflects the values we value in today’s world. Juhani Pallasmaa describes contemporary culture as a need for control and speed
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BASIC ENVIRONMENTAL PSYCHOLOGY MODEL
environmental stimuli
emotional states PLEASURE - DISPLEASURE
behavioural response
SPACE AMBIENCE SIGNS AND SYMBOLS
DOMINANCE - SUBMISSIVENESS AROUSAL - NON -AROUSAL
APPROACH AVOID
Figure 1.32 Basic environmental psychology model by BronHiggs (2017) via Wikipedia
that favors architecture built only for the eye, while haptic and atmospheric architecture promotes slow and intimate movements while engaging people. Places that are the result of the homogenization of culture and architecture can be called placeless or as Marc Augé calls them non-places, a concept that describes a place that is not authentic. These are mainly places that fulfill their function but without any added value. Landscapes without place are seen as having no particular relationship with the places they are in - they can be anywhere (Chakrabarti, p.187). In environmental psychology, we also come across the term sense of
place, which means nothing less than how someone perceives and experiences a place or the environment. It is quite a broad concept, multidimensional, which accurately describes the relationship between the spatial environment and man (Caves, p.590) or according to other sources, it is perception itself possessed by humans, not a property belonging to a place (Duncan). Environmental psychology very accurately describes the influence of the external environment on our reactions, both emotional and behavioral, and the influence of people on the environment. Already in 1977, Christopher Alexander,
Sara Ishikawa, and Murray Silverstein in the book Pattern Language identified 253 patterns according to which certain problems can be solved, positively influencing society and people, building relationships, and exerting a positive experience in the use of space and places. So the main goal for branded environments is to achieve desired behavioral outcomes. According to the model of environmental psychology, our emotional responses to environmental stimuli with which we interact can be divided into three states: pleasure, arousal, and dominance (see figure 1.32). Pleasure – displeasure: satisfaction with the services provided Arousal – non-arousal: the excited state of users or employees Dominance – submissiveness: the degree to which consumers and workers feel in control and are free to act in the service environment Instead, our response to these factors may be presented as either an escape or an approach. Escape occurs when the user is not interested in the place, he is disappointed, as opposed to the approach which means the willingness to interact with the environment, a willingness to use services, and to enter into interpersonal relationships with other clients. Another category is stimuli that trigger appropriate reactions in us.
Environmental stimuli are divided into 3 main categories: Space, Ambience, Signs, and Symbols. According to environmental psychology, environmental conditions include air temperature, air quality, lighting, and noises. The space includes the layout, furniture, and furnishings, arrangement in space. The last category is symbols and signs, among others: wayfinding, personal mementos, company logos and colors, color schemes, etc. Each of these categories has a different impact on the construction of space and therefore all three categories and their interrelations should be taken into account when creating a strategy. (Wikipedia)
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visual research data arrangement 1.6
The diagram presents in a chronological manner the overall research process the arrangement and prioritization of issues. The starting point is the Autodromo Nazionale Monza and its immediate surroundings, research carried out on-site, observations, and then research related to the interaction related to the place, brand, and experiences. The diagram is arranged chronologically, showing what it results from, but it is not a linear process.
marketing
destination branding targets solely tourists
place atmosphere
general research about Autodromo di Monza
HISTORY
AUTODROMO ACTIVITY
SITE ANALYSIS
CASE STUDIES
SWOT MAP
VISUAL IDENITY
physical
hear
virtual reality
brand
i nt
on
interaction
brand
individual research
e
brand vision
team
taste
the vision is the ‘why’ of the brand. It describes the brand’s ambitious and reason to exist.
branded environements
brand values
experience
elements
site analysis
sight
exp ec t
c ti
io n
branding
touch
DNA
e
pt
smell
ra
senses
ex te n
AUTODROMO DI MONZA
rc
place
e ag im
pe
team research
{sensorial marketing}
n tio
circuit
place
space
s ion at
overall image and odczucie
According to Peter Zumthor
emotional
scale balance motion continuity illumination gravity stability duration orientation
visual
experiential marketing
destination
experiential space
1
of space
colors communication language social media advertising smell sounds colaborations taste
bra nd
visual language analysis
1
senses
experience
main question
providers
main topic
personal research
of
team research
for all target groups such as residents, companies and tourists
can be
{
immersive experience
traditional marketing
place
* team research - general site anlysis / scale: urban+site * personal research - site visit + analysis / scale: site+humane
digital + physical worlds
space
the basis of a company and its culture. They function as principles that guide the brand’s behaviour internally and retaltionship to customers
brand personality
the result of assigning traits and characteristics to a brand to define its essence and emotional appeal
* brand identity *brand image *brand drivers *brand associations
brand vision
architecture interiors lighting graphics landscape
brand values
goals for branded environments inform
engage
getting people where they need to go. This involves clear signage, wayfinding and well-illuminated interiors.
building emotional affinity for the brand through messaging, digital experiences and space design that aligns with the brand essence
inspire
encouraging people to take action. Involve people and make them feel the part of the brand
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1.7
case studies
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Figure 1.33 Olympic publication. Poster Olympic Games Mexico City 1968
mexico city, mexico
1968 summer olympics 1.7.1
The 1968 Summer Games in Mexico are an example of the fact that the logo and graphic identification is not only a visual medium, but also a symbol of the events of the times. The visual identity designed by Lance Wymana has been hailed as the pinnacle of branding, creating an unparalleled sense of space rather than architecture typical of the Olympic Games.
Figure 1.34 Olympic stadium design. Detail.
The project for the Olympic Games in Mexico is an example of duality that combines contradictory ideologies on the one hand, it shows the beauty of sport, friendly competition and reconciliation of the whole world during the Games, and on the other, it becomes a symbol for a struggling nation with a government that does not listen to its own citizens, does not pursue a pure dialogue and acts against the principles so important to the Olympic Games. The young designer Lance Wyman stepped in unconsciously in this war to create the overall graphic program for the Olympic Games, featuring the Olympic logo and signs in Spanish, French and English, and visually reflect
the cultural heritage of Mexico and the Games in an appropriate and positive way. As the chairman of the organizing committee Pedro Ramírez Vázquez said: “Create a picture showing that the games are being held in Mexico, which is not a picture of a Mexican wearing a sombrero sleeping under a cactus. “ As Lance Wyman recalls, the starting point for the entire project was the logo of the Olympics - or more precisely, a single lineal geometry of 5 circles, which resembled the number 68, the year of the event. It was the basis for creating the words Mexico, 68 and the Olympic rings in one logo. The project is inspired by the art of the indigenous people of Mexico and ancient
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paintings. Wyman emphasizes that before joining the project, he spent a lot of time at the Museum of Anthropology in Mexico, researching the history and getting to know the local culture better, which he then had to translate into graphic language. He drew a lot of inspiration from the street, where he observed and photographed local artists, street art and local design. One of the inspirations was Huichol yarn painting - Nierikas, traditional paintings based on myths, stories and personal daily activities of the Huichol people. Natural glue, made from tree resin and beeswax, is applied to a board, and yarn is pressed into it and left to harden - colored Nierikas with the Olympic logo were made in the same traditional way. Ancient Aztec sculptures and statues also became a very important inspiration while exploring the history of Mexico. Lancen emphasizes that he was delighted with visual power, wit, and humor in the designin early Mexican cultures, and this influenced the entire design process and the final effect of each identification element. One of the most important elements is color. Mexico is associated with bright, colorful clothes, architecture, ceramics painted with natural dyes. The colors are more saturated, juicy and fuller. Wyman described how one of the
Figure 1.36 Aztec carving as an inspiration
Figure 1.35 Toltec warrior statues
Aztec carving
Aztec sundial
Olympic coin
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Figure 1.37 Exhibition stand towers, inspired by Toltec warrior statues
colors that really stood out was the magenta, he said that “No matter how many flag colors you use, it will look like the Olympics, but as soon as you introduce magenta, it started looking like the Olympics in Mexico “.
“It wasn’t meant to be legible, it was meant to be branding.” Lance Wyman
However, this great design also has its other side. Two weeks before the Olympics in the Tlatelolco district, there was a peaceful rally in Plaza de las Tres Culturas, attended by over 10,000 people, which unfortunately ended tragically. Following a false provocation by the Olympic government, the police and the military opened fire on protesters, killing hundreds of young people, mostly students. What’s more shocking is that the government managed to conceal
and cover up the massacre from an international audience and successfully open the Games. At this point, the identification that was meant to be only a graphic representation of Mexico, its culture and traditions, became a symbol of the protests and the struggle for peace. The students used the logo and stylist to create signs and images to match the protests, they changed the iconography of sports events to icons for grenades, gas masks, etc. At this point, identification became a representation, they formed part of the story. In response to the tragedy, Wyman helped create the Tlatelolco Memorial logo, represented by a white dove, that was placed throughout the city in memory. Designers: Petere Murdoch (marking expert), Eduardo Terrazas (architect), Beatrice Trueblood (publication designer), Mathias Goeritz (sculptor) and Pedro Ramírez Vázquez (chairman of the organizing committee)
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Figure 1.38 Dreamland by Paul Finkel, Piston Design
margate, england 1.7.2
dreamland
Figure 1.39 Entrance to the park by HemingwayDesign
Dreamland is a totally unique venue, located in the coastal town of Margate in County Ken, is one of the oldest surviving amusement parks in Great Britain, founded in 1880 during the British railway boom, and named Dreamland from 1920 when it was taken over by John Henry Ilesa and converted into an amusement park. The park was closed several times, passed into different hands, was renovated, and received its present shape in 2017. The design of the park and branding combine contemporary
elements, but referring to the historical epochs in which it operated. There are vintage elements, inspirations from the Victorian era, through art deco to modernism. The park creates an atmosphere of a spectacle in which visitors take part and create scenarios. The whole thing gives the impression of secrecy, magic. Capital letters appear sculptures as identification elements. In addition to being a typical amusement park, Dreamland is also a venue for huge concerts, interactive exhibitions and many attractions for everyone and all ages.
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Figure 1.40 The Comedy Carpet, Blackpool, 2011 via Gordon Young
typographic environment 1.7.3
gordon young
Figure 1.41 The Comedy Carpet, Blackpool, 2011 via Gordon Young
Gordon Young is a British artist specializing in public art, often including typographical elements. His Comedy Carpet on Blackpool Promenade (2011), at 2,200m2, has been said to be the largest piece of public art in Britain and one of his most famous projects. Gordon Young combines letters, typography with architecture in his works. He places them in the context of a specific environment, giving it a new perspective. Importantly, typography has always been associated with architecture - starting with Egyptian hieroglyphs, glyphs in the Mayan culture with which they wrote simple
sentences, to modern elevations, which increasingly use lettering to create an individual sense of place. As Radosław Nowakowski writes: “We are a Civilization of Words. Name. Labels. We expect words to explain everything. We think that things cannot exist without names. We believe in the power of words. We imagine that it is enough to give something a name, attach a label and we already understand it “ Thus, typography in architecture is one of the types of architecture communication with users.
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Figure 1.42 Traversing Wall, Barry Island, 2014 via Gordon Young
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Figure 1.43 Climbing Towers & Boulder Wall, Blackpool, 2006 via Gordon Young
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Figure 1.44 Circuit of the Americas, 2016 via Squaremile
austin, united states
circuit of the americas 1.7.4
Circuit of The Americas is quite a new world-class motorsports and entertainment venue in Texas. It is also a world-class performance, education and business center.
nar rat ion
lo r co
a
entrance
l
bes
cc
ee
e nt
re d s t
tu
axial relationship *strong experience of arrival
Figure 1.45 Circuit of The Americas via Archdaily
The Circuit of the Americas in Austin is the first purpose-built Formula 1 circuit in the United States. The track uses a natural hilly terrain for a 3.41 mile track. The architectural design is the responsibility of the Miró Rivera Architects group, which designed the Observation Tower, a Grand Plaza, Austin360 Amphitheater, the Main Grandstand, ticketing buildings, and 2 bridges. The Circut of Americas is a relatively
young facility, built in 2012 as a racetrack for Formula F1 races and motorsport events, but is also a leader in environmental awareness and sustainability, and its tourism contribution to Austin’s growth is increasing with year to year. The design inspiration is, of course, car racing and everything related to it speed, power, competition, movement. The architects have mapped it very well in the architectural development
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as well as in the urban layout. The main landmark is the 251 meter high observation tower made of red steel tubes flowing smoothly into the canopy of the Austin360 Amphitheater - a venue for concerts and larger events for over 15,000 people, it is very dynamic and gives the impression of movement. Steel tubes appear as a landmark throughout the track. This is a deliberate action to emphasize the structure even more and give it a more technical look. According to the architects, this is also a reference to the specialized and precise designs of Formula 1 cars. The facility is suitable for both daytime and evening events, such as large mass concerts, where the lighting of the tower and
other buildings play a major role. The urban layout is very simple, all the main elements are arranged in one line, from the lowest to the last tower, so that visitors entering the racetrack can easily orient themselves in space, starting from the swimming pool and ending with the observation tower. Also, all additional functions such as retail or food area are located in one line on the main avenue, which makes orientation on such a large facility child’s play and intuitive.
Figure 1.46 Food area, Circuit of the Americas by Paul Finkel, Piston Design via Archdaily
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Figure 1.47 Tower at night, by Paul Finkel, Piston Design via Archdaily
chapter two
creation
The goal of the creation is to clarify the strategy. Phase two is all about analyzing and synthesizing, clarifying, and setting up the framework. It is the process of drawing conclusions from the conducted research and building client-oriented proposals on their basis.
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2.1
brief
Autodromo Nazionale Monza is worldwide known mainly for Formula 1 racing and as the fastest circuit all around the world. But the track has so much more to offer. Thanks to its unique location, Autodromo Nazionale Monza can boast a wide range of activities in various fields, not only strictly sports events although these largely dominate, but also the organization of exhibitions, educational, and entertainment activities. In this interaction, the Autodromo Nazionale Monza is the main organizer or has a supporting function, but is always present in this relationship. As a track brand, it also fits into various types of cooperation with other institutions and companies. After the analyzes carried out in the first part of the study, I noticed a pattern that while the vast majority of people associate the Monza racetrack, Autodromo Nazionale Monza as a brand and brand environment is very little visible and emphasized in various activities. That is why the brand strategy is not readable as a coherent whole, but as
many different stories, composed of many elements and told at random points of contact with the brand. However, it’s worth remembering that consistency and coherence are not the same as homogenization. Ren and Blichfeldt (pp. 4-9) distinguish place branding from product branding, where creating one image that stands out from the competition is essential. In the case of venues, it is believed that the variety and complexity of the venue may be more interesting, intriguing, and engaging for visitors. This is an advantage that should be skillfully used at all brand levels in communication with users. As a result, the circle of users is also expanding. This is called “diversity branding”, which can be translated as a set of the processes and people that characterize the identity of places over time, resulting in brands that are heterogeneous, rich, real, truly unique, and innovative, and therefore more effective as a brand. (Porter, p. 47). The specificity of the place is also a variety, which means that the user is not a mass client, so the form of communication
should be diversified, as well as the variety of images and messages. What the brand wants to convey is not perceived as a coherent and strong narrative that is the basis of the identity for the subsequent image and perception of the brand. Therefore, the starting point for creating and building a strategy is diversity, which manifests itself from location, topography to the type of activity and users of the place. The new design strategy will combine all these elements into one coherent whole, but will not impose a change in their nature and type of activity. It is an open space that will combine different elements, and its center will always be the Autodromo Nazionale Monza, as the main stage for various present and future activities.
Moreover, given the economic situation we live in, Kotler said et al. (1993): we live in a time of “space wars” where places compete for their economic survival with other places and regions not only in their own country, but all over the world. (...) which requires all places to learn to compete (1993). (Kotler et al. 1993: 346). The Autodromo Nazionale Monza has a very strong foundation as the narrative is based on the great history of the place, people’s adventures, and innovative discoveries, which shows just how rich the identity of the place is. The location and history of Monza Park also highlight and add value to the racetrack. All this creates a strong image of a place that gives a huge advantage in the international arena.
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multiscape of autodromo nazionale monza
CRE ATI O N
2.2
Autodromo Nazionale Monza is a multi-level brand, working on different layers, creating new variants that interpenetrate and complement each other, it is a collection of many different areas of activity, both on and off the track. The diversity that characterizes Audromo Nazionale Monza gives it endless possibilities to build new scenarios and thus create landscapes for today, but also with the possibility of expansion in the future. This creates a kind of smaller areas that make up the entire landscape of the Autodromo Nazionale Monza. Each of these elements is a separate story that can be expressed through material elements, such as the physical environment, but also non-material ones, such as relationships between people. (Mei, Hagensen, Kristiansen, 2020) Overall, the entire Autodromo Nazionale Monza experience is made up of multiple landscapes, ranging from the urban landscape of Monza
to smaller service landscapes, which together form an overall multiscscapes experience. According to The Sports and Community Connection research by Gensler, sports facilities have a huge impact not only on fans of a given team or activity but also on the entire neighborhood, thanks to the variety and flexibility of facilities that connect with the entire community. “It all comes down to opening a place to the city and people, being more accessible” (Sickman and Turner, 2021). Also from the perspective of visitors, it is a very attractive form, because, as confirmed by Gensler’s research, “having a sports venue tied to its surrounding environment improves the experience”. Moreover, it is a rare opportunity to combine attractions and activities in one facility that can serve the entire community and become a destination throughout the year, not only on sports event days.
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Figure 2.1 Diagram of Multiscape Experience
BUT WHAT ARE THESE LANDSCAPES? In recent years, we can observe a very strong development of new spatial definitions, which are created, inter alia, through the territorialization of brands, and this has resulted in the emergence of new means of identification.
(Klingmann, p. 83). There are new terms for different landscapes depending on their function and purpose, such as landscape, experiencescape, cityscape, eventscape ...
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DEFINITION OF SCAPES
CRE ATI O N
2.2.1
scapes
{
-scape* /-SKEIP/ SUFFIX
landscape
scape
a view, picture of scene used to form nouns
The word scape, as used in the dictionary, means “an extensive view, scenery,” or realistic and abstract “a picture or representation”. It is used to create nouns such as landscape, cityscape, moonscape. (Cambirdge dictionary). The idea of a “scape” is also a term for a created environment or space that has consumer-oriented characteristics that creates a certain set of experiences to satisfy the user’s desires. (Hall, 2008). The suffix -scape is equivalent to the more common English suffix -ship.[4] The roots of -ship are etymologically akin to Old English sceppan or scyppan, meaning to shape. The suffix -schaft is related to the verb schaffen, so that -ship and shape are also etymologically linked.
The most common combination when using the term “scape” is the word landscape. There is no clear definition of what this word means, its roots go back to the Old English word landscipe or landscaef, which appeared after the 5th century, following the arrival of the Anglo-Saxons and refers to a system of human-made spaces on the land. The word “land” has a Germanic origin and means of something to which people belong, e.g. a piece of land that belongs to the owner. In the later period, around the 17th century, the term landscape appears in the context of composed images of land in Dutch painting. Accordingly, the landscape has a certain border that distinguishes it from the physical landscape. We can also attribute performative features to the landscape - it not only describes and shows the physical environment as an object but more as an agent that can
servicescape
exert its own influence on human history and shape it (Rybicka, 2015). Mitchel in his book “Landscape and Power” goes one step further and aims to change the word landscape from a noun to a verb. He describes the landscape as a process by which social and subjective identities are formed, to then say that landscape is not what it is or what it means but what it does. ( Mitchell, 1994). Antrop also argues that landscape cannot be static as it represents the dynamic interaction between cultural and natural processes (2005). This means that landscape is connected with activities such as capturing spaces, making spaces, making images of spaces, or directly experiencing spaces ( Porter, p. 10). Therefore, landscape ceases to be only an aesthetic object, a static image with aesthetic values, it becomes an element of forming individual and social identities (Rybicka, 2015) Currently, the word landscape combines and covers many areas of interest, from geography, history, architecture, photography, ecology, to literature, to economics and politics, showing various definitions and interpretations from various perspectives. In the context of environmental brands, we can say that the landscape functions as several representations, as a photographic landscape view - as a tourist attraction or as a logo for the purposes of territorial marketing. (Rybicka, 2015), but also as foundations for the construction of new forms of spatial landscapes. What we can notice is the emergence of new definitions in line with new ways of identifying specific areas, it is the result of territorialization of brands and increasing exteriorization of corporate identities combined with an artificial making of place (Klingmann, p. 83)
Servicescapes are an artificially created environment where the service process takes place and in which the seller and customer interact, coupled with tangible goods that facilitate the execution or communication of the service. The model created by Booms and Bitner in 1981 focuses on the external appearance of the building (i.e. facades, parking lots, green areas, external surroundings), internal space (interior design, furniture, wayfinding and visual identity) and the climate (i.e. air temperature, smell, air quality). , light). These are the main elements that affect customer behavior, the nature of the service, and ultimately translate directly into the quality of interaction between customers and the brand. The physical space, which is serviscape, consists in creating such experiences and associations at the customer that the service process is as natural as possible for the user and thus translates into consumption and satisfies the customer.
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experiencescapes
brandscape
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The concept of brandscape was created from a blend of brand and landscape words in 1986 by Anthropologist John Sherry. In brandscape, in addition to the atmospherics of the physical space, brand and brand identity are transferred to physical territories, and in turn, transformed by the consumer to have an experience that is in multi-sensual association with a concrete brand (Sonnenburg & Baker, 2013). The idea of the physical space is not only about the brand but also about having a SocioCultural impact is developed with the notion of “Breland” (Thompson and Arsel, 2004). The most significant example of the use of brandscaping is Starbucks and Aesop, which provide a symbolic retail space that is familiar and comfortable for consumers no matter where they are in the world and which also enables them to physically inhabit and experience the space (Thompson & Arsel, 2004), respecting location and emphasizing distinctive elements through collaboration with local artists and designers.
“brandscapes constitute the physical manifestations of synthetically conceived identities transposed onto synthetically conceived places, demarcating cuturally independent sites where corporate value systems materialize into physical territories.” Anna Klingmann
According to the Cambridge dictionary, experience is the process of gaining knowledge or skills in doing, seeing, and feeling things, and something that happens and affects how we feel (Cambridge dictionary). Experience is closely related to perception, feeling, or observation. In 1998, B. Joseph Pine II and James H. Gilmore described the so-called experience economy as a corollary to the agricultural and service industry (see figure 2.2 - chapter experimental branding). According to them, this is the next stage in the business evolution, which is based on the constant interest of the client and attracting him to himself, for this to happen, companies should add an unforgettable event to the product or service, which will have an impact on the customer’s emotional level and thus in the memory it is that feeling that is directly related to the product that will remain, creating an experience. Initially, the experience economy worked only within business, but it quickly developed into many other areas, such as tourism, urban planning, and architecture. This is where we meet experienscapes, spaces that aim to create unique and extraordinary
landscapes that will be deeply remembered. In the context of space, experiencescapes are viewed more broadly than servicescape. These are consumption spaces, usually with a deeply entrenched design zone, stylized landscapes, setting the market imperative as their main goal (Hall, p. 237). What is worth emphasizing, despite being artificially created landscapes, experiencescapes are also actively sought after by consumers. They are spaces of pleasure, enjoyment and entertainment ... ‘(O’Dell , p. 16)
low
place landscape cityscape & townscape
experiencescapes designscapes servicescapes brandscape
mallscape
servicescapes
high
Figure 2.2. Capacity for control of the physical environment and branding by M.Hall (2007)
“In 25 years, what people buy will be mostly stories, legends, emotion, and lifestyle.” Rolf Jensen, 1996
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CRE ATI O N
2.3
strategy
“The place has tangible elements, the interaction with the place is largely intangible” (Halll, p. 236). Autodromo Nazionale Monza has a great history, it is a legacy of Formula 1 motoring and racing. The keywords to describe the space on the track are those that express the essence of the brand. The values that best define the Monza track are uniqueness, innovation, timelessness but also temple and speed. They form the starting point for my design concept, both for the strategy and for each stage of the project as design factors. Autodromo Nazionale Monza is based on contrasts, on the correlation between what is innovative but respecting history, which is the essence of automotive technology, but with sensitivity to the environment. It is an example of environmental diversity and cooperation at different levels. However, in order to the brand to be perceived and understood on various levels, tangible elements are also needed, not only descriptive, the need to transfer the brand’s value to the physical environment. As Hall recalls, a physical manifestation in terms of architecture, design, and life of the place is also needed to complete the whole, including event infrastructure and related revitalization projects.
(p. 236). In his work, Hall introduces a division into physical, material elements of the aforementioned architecture and generally understood infrastructure as well as non-material elements related to marketing, brand identity, promotion, and strategies. He calls them hardware and software tools, respectively, which can be considered an analogy and is automatically associated with the way the landscape is constructed, i.e. softscape and hardscape. These interpenetrating tools allow to seamlessly connect the place itself with the external environment and society, allow to create new situations, and start a brand experience before even entering the area of the Autodromo Nazionale Monza. Going further and finding a specific field that uses all these tools and combines them in different ways, we find the environmental (experimental) graphic design (EGD) or archigraphy. It is a medium in which the two-dimensional world of broadly understood graphics, advertising, marketing, and promotion closely cooperates with the threedimensional worlds of architecture, industrial design, and exhibition. (Poulin, p. 9). With the help of EGD, we can express all these missing elements and consciously build a coherent, interconnected landscape
that will highlight the function of these different areas and activities, define their purpose, show the history of the place, while being a tangible, physical reflection of the brand identity as a multi-level landscape of Autodromo Nazionale Monza - Multiscape, diverse but yet inclusive. The strategy includes the design of internal and external touchpoints of Autodromo Nazionale Monza with the use of EGD as a medium for image building and brand strengthening. By using small-scale but perfectly tailored interventions, we are able to tell great stories using common language and create connections between them, whether internal or external. By combining separate areas that represent the diversity of the Autodromo Nazionale Monza, their shifting narratives, and new scenarios that appear depending on the event and activity, we can continue to tell the same story, with Autodromo Nazionale Monza starring. As Autodromo Nazionale Monza grows, evolves, and adapts to a specific event, it is imperative to design a system that will either adapt with the event, depending on the site
of intervention, function, time and scale, and digital or physical layer, but will always reflect the spirit places, history, and identity through a seamless transition across multiple channels. Autodromo Nazionale Monza has been in existence for 100 years, during this time it has had many modifications and alterations, some elements have been removed and some have been added. (see chapter 1, the history of the Autodromo Nazionale Monza). Evolution is especially evident in the track itself. The latest track configuration, where the new track merges with old sections that have not been removed but have changed their functionality. This allows for a continuous dialogue between what is old, historical, and new layers, later inserted between the existing ones. The inserted elements will emphasize this communication, using the existing infrastructure, materials, or its other physical features, but in a new dimension. They express stories, places, emotions, and at the same time refer to the past, show the present and create the future.
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WHAT IS AN ENVIRONMENTAL GRAPHIC DESIGN?
2.3.1
archigraphy
Environmental graphic design is nothing more than providing visual information about the built environment. The story begins long before the invention of paper such as the sample murals in Lascaux, France through the use of hieroglyphs in ancient temples. (Calori, 2015). Environmental, or as it is used more and more often, experiential graphic design is based on a systematized, information-coherent, and visually unified communication system of a given built environment. It is a combination of many areas in many specialties, as can be found on the SEGD (Society for Experiential Graphic Designs) website: Experience, Interface, Interior & Exhibition, Industrial, Retail, Landscape, Motion, System, Symbol (...) Design and elements such as Mapping, Sustainability, Branding, Typography, Wayfinding, Content, Accessibility. As Peter Dixon writes, when we manage to harmonize all these elements, we will be able to create environments that communicate.
“architectural form can at best connote the aim of a building whereas lettering on the building denotes it” Christoph Bignens
According to Wayne Hunt, a world leader in environmental graphics and signage design, there are three basic levels of EGD interaction that do overlap: signage, interpretation, and place creation. The first Signage and Wayfinding is a system that helps people find their way on the site with tools such as signage, visualization, and landmarks. The next point is Interpretation. It tells about a company, product, location, or events that are expressed in the form of exhibits. They can consist of: “the site itself, physical artifacts, audiovisual and interactive media, static images and graphics, etc.” The last ingredient
signage
is placemaking, i.e. expressing identity and image through physical elements such as portals, kiosks, and other devices. However, it is important that this place making communicates the message and contains information, both through static and digital channels. This distinguishes EGD from the architecture or interior design discipline itself. (Calori, 2015). In conclusion, EGD should orients people to a site, helps them navigate,and tells a story about a place by creating a distinctive image for a specific built environment.
interpretation
placemaking
Figure 2.3 Three Main Components of EGD and how they can overlap, Wayne Hunt, 2015
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MEDIATECTURE AND NEXT-WAVE DIGITAL TECHNOLOGIES IN BRAND DESIGN
new approaches and digital technologies 2.3.2
DIGITAL TECHNOLOGIES AND THE COVID-19 PANDEMIC We live in the times of the digital revolution, digital electronics have already entered every realm of our lives, and we use them every day, not always being aware of it. Also in art and design, digital technologies are developing at a dizzying pace, not only those used for production, but also as one of the media. Technology plays a huge role, starting with the tools we use to design as architects or designers, through the technologies used in buildings or devices that we have with us daily, such as phones or smart watches, up to next-wave digital technologies such as augmented reality, artificial intelligence, and IoT-enabled devices. This results in better operation and support of the very functioning of buildings and surroundings, but also thanks to sensors, supports more accurate data collection in order to shape and adapt these environments even better and more accurately on an ongoing basis. This opens up new possibilities for smarter and unique space creation, extracting unique features of space and environment targeted specifically for our business, product, and for a better
understanding of what makes people feel better, healthier and happier in a specific place (Gensler, 2021) This is an enormous added value, but at the same time a very great challenge that is not being properly used, according to Richard Tyson, leader of Intelligent Places. Another important thing is the support that technology has given us during the COVID pandemic. First, our relationship with technology has changed completely. People are more open to use new devices, testing and trying. Because during a pandemic, the help of new technologies was very often our only form of the communication with families, friends or colleagues. On the other hand, it influenced the spaces themselves, that is the automatic non-contact digital thermometers and systems for monitoring the entrance to the building, warning systems about too small distances between people, touchless mechanisms, etc. We have adopted new behaviours, technologies and ways of interacting with one another. It will be very important now to develop these systems and interact with
each other in an increasingly seamless and sophisticated way to create a better symbiotic experience. According to Hans Neubert, we can use this pandemic experience of digital solutions in design to create completely new experiences and even better express brand values. Neubert emphasizes that physical spaces should
be treated as entire multisensory ecosystems together with the digital layer, in which technology and new data will help us better understand the relationship between space and user, but also better react and manage spaces in crisis situations (2020).
MEDIATECTURE In terms of architecture, a term that describes architectural spaces combined with dynamic digital technologies is mediatecture. However, it should be remembered that this is not a simple term to describe flat TV screens attached to the facades of buildings. It is a growing trend that allows the integration of architecture, environment and blurs the fine line between the built environment and the interactive layer where the media becomes architecture. (Hafermass, p. 255). This causes the media and technology to blend in with the environment, creating an impact on us, without even realizing it. This allows redefining the relationship between the built area, the user, and the environment, and thanks to modern technologies, an ordinary digital image goes beyond the screen frame, creating an amazing, seamless experience that is so important in creating an engaging branded environment. These experiences relate to the mental and physical reactions of people to the environment, but thanks to new technologies, this experience is completely new, previously unknown
to us compared to traditional printed media. And so, with the help of digital media, we can create and design completely new, vivid impressions, placing them in the same conditions and physical spaces. ( Lee, 2019). Hafermass, in the book Archigraphia Redux, mentions a few major technology trends supporting branded environments. Starting with Digital Landscaping, i.e. digital screens built on an architectural scale, creating various configurations that enhance the experience of space. The use of non-traditional and emerging dynamic materials to create displays is known as Displayification, it can be used inside as well as the exterior facade. A good example is the facade of the new Rental Car Center in San Diego International Airport and the use of the so-called e-ink, i.e. materials used so far in book readers. It is the first time that this material has been used on such a scale, creating a facade of several thousand tiles. Each plate is wirelessly connected with a solar cell for power and with a control panel, so it is
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possible to display animations, change colors and thus completely change the appearance of the building. Digital Reconstitution is transforming a traditional image into a physical object by means of pixelization or macropatterns.
Data sculpting, the use of extensive databases to create visual effects and real-time experiences. It is a connection of visual art, data science with machine learning. (see study case 2.4.6: 350 mission building of Refik Anadol).
NEW APPROCHAES IN BRANDED ENVIRONMENT Another important step in enriching the spatial experience is extended reality (XR). We have three examples of the use of augmented reality, two of which are already known to the general public, i.e. augmented reality (AR) and virtual reality (VR). The third one, mixed reality, is just starting to take off. So the difference between the two tools is that AR imposes digital elements on reality through the use of e.g. a smartphone, where VR gives the impression of full immersion into the real or imaginary environment, by completely cutting off from reality. Both solutions are already used in the experience of interiors and physical environments. Autodromo Nazionale Monza, as a temple of innovation, uses virtual solutions, so far on a small scale. As the first track in the world, the Autodromo Nazionale Moza uses augmented reality using multimedia glasses to deepen the visitor experience. There are seven places throughout the resort where, thanks to glasses, we can learn about the history of the track in Monza and the world of motorsport, see the reconstruction of the most important events, watch historical films from the archives of the Autodromo Nazionale Monza. However, this experience is not
supported by the physical environment. There is no reflection in the signs, these places are not specially designated and do not make it easy to explore on your own, without a guide. Therefore, it is a good opportunity for Autodromo Nazionale Monza to combine the existing technology with the physical space of a circuit, to create a specific site experience. As for Virtual Reality, Formula 1 in 2018 signed a contract for a new application, thanks to which it is possible to watch the races in real-time in a fully immersive multi-sensory reality concept, together with the decoration of the winner and behind-the-scenes events. Also, the classic wayfinding system has been using new technologies for a long time and is implementing new solutions. In 2019 studio05 introduced the Virtual Wayfinding application for LEGO Denmark. Thanks to this, users are even more involved during the tour by following the Lego avatar that shows the attractions, and most importantly informs about the waiting time in the queues in real- time. (see study case 2.4.7: Legoland Denmark). In addition to the entertainment function, Beth Ready and Ty Osbaugh from Gensler Research Institute mention that virtual wayfinding will be one of
the basic tools supporting sudden crisis management in the future. Currently, it is an emerging trend that is an added value and is mainly aimed at diversifying the attractions in a given place, while over time it will play a very important role in directing traffic, managing sudden changes in signage and information, warnings, or adapting space to new standards. This will make the space and design of environments more flexible and it will be easy to introduce new operating scenarios without much interference in the already built environment. A unique, strong, and varied emotional bond with customers can also be built through the fragrance. Our olfactory memory is able to reproduce over 10,000 smells. Scent branding is used by the largest companies to create a new bond with fans, but also as an additional form of profit. The car industry understands this very well, which is why the Porsche Club of Monaco and Lamborghini
fragrances were created. It is another form of translating brand values into the language of emotions. Sound branding is also an increasingly used tool as an element closing the experience. Compared to other tools, specially designed sound touches customers unconsciously, on a completely different level from images. Roland Garros introduced the socalled sonic identity, i.e. a complete language of sounds that were then implemented during key moments at the tournament, combined with other forms of communication.
As the call for papers in the next section shows, it does not have to be such a distant vision as part of the Autodromo Nazionale Monza design strategy using digital technologies.
Figure 2.4 Tour in 3D at Autodromo Nazionale Monza via Brianzapiu.it
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2.3.3
call for paper
The call for papers is part of the experimental Thesis Incubator Studio course at Politecnico di Milano. The aim is to reflect on the imposed paradigms in everyday life, but also in professional
life as a designer. The chosen topic allowed me to go into the future and imagine Autodromo Nazionale Monza from a different perspective.
Figure 2.5 Virtual Reality World, 15/04/2020
Sources: 1. Mehta, Mayank. Space, Time & Imagination: How Virtual Reality Changes the Brain. University of California, Los Angeles on TEDex platform TEDxUCLA. May 2019 2. Ranasinghe, N., Cheok, A., Nakatsu, R. & Do, E. Y. L. Simulating the sensation of taste for immersive experiences. 2013/10/22 3. Slater, Mel. Place illusion and plausibility can lead to realistic behaviour in immersive virtual environments in Philosophical Transactions of The Royal Society B Biological Sciences. December 2009
The impact of virtual reality and technology in creating the immersive experience of the places DO WE NEED A PHYSICAL SPACE TO FULLY EXPERIENCE THE PLACE?
KEY WORDS: IMMERSIVE EXPERIENCE / VIRTUAL REALITY / EXPERIENTIAL DESIGN / PLAUSIBILITY / TELEPRESENCE Abstract: With the development of technology, the virtual reality has penetrated into all areas. Sometimes as a support, but it can also fully replace some technologies. An immersive experience is the perception of being in one place when you are in another, with the emotions and supporting stimulus. Thus, in this paper, I will investigate the development of technology and it impact on blurring borders between a real and virtual world and how deep we can go to create the illusion of space within our brain.
Nowadays, virtual reality is playing a huge part of the entertainment world, tourism, and not only - theme parks share attractions which we can experience straight from the couch, also F1 circuits propose their fans taking part in the races in real-time, or you can even climb on the Mount Everest. We can experience and feel different places without going out home. Thanks to the advanced research, we know that virtual reality is not only the matter of perceive the place but also the way to trick the brain that we can really believe in it and even encode it as the memory. According to Dr. Mayank Mehta, there is an ability to create the perception of things and space that doesn’t seem to exist (space and time) through manipulating our Hippocamps brain to create the illusion of reality. The question is, how we know what is real? By creating the rhythms, our brain builds the perception of the real space around us. But to fully feel the space, as in reality, we have to coordinate all five senses, and that is no more and no less than the harmony between all of them - that is the main factor which sustains the illusion of multisensory experience. The most popular triggers, used now in the virtual reality world are sight and hear. However, it is not enough to achieve the full immersive experience. According to Nimesha Ranasingh, who has already created the technology that can emulate the tastes that our tongue can feel, we will soon be able to build the device which will connect all the five senses and will bring us to the new level of total immersion. This can only empower the role of virtual reality in future interior and space design - from customer experience in cultural spaces, through retail design, up to day-to-day activities, like eating out and meeting with friends. It seems even that according to the current situation of unexpected worldwide lockdown as a consequence of the COVID-19 virus, the world of virtual reality will be even more needed than ever.
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2.4
case studies
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Figure 2.6 Pierluigi Cerri’s visual identity for the Turin Lingotto by Gregotti Associati International srl via SEGD
turin, italy
venti progetti per il futuro del lingotto 2.4.1
Huge letters hanging above the entrance to the former Lingotto factory were part of the graphic program for the exhibition “Twenty projects for Lingotto’s future” designed by Pierluigi Cerri in 1982. The former factory building, made of concrete, glass, and metal, is the perfect backdrop for a fresh, original design of monolithic, colorful letters suspended in space at different angles. It introduces an element of surprise and dynamics compared to the heavy, industrial shape. The sculptural elements are 4 m high and form the Lingotto inscription, composed of sans-serif letterforms.
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Figure 2.7 Google’s Kirkland campus wayfinding by Bill Wright, Cassie Klingler via Studio Matthews
kirkland, usa 2.4.2
google campus
The wayfinding project for the newly established Google campus in Kirkland was based on Montessori teaching methods, a method based on learning through the involvement of all five senses. That’s why Studio Matthews proposed a sign program where each campus has its own google color, texture, and letter. The signs are three-dimensional, therefore, with the changing light, the dimensionality of the textures changes, creating different shadows. The design reflects the core values and approach to innovative and out-of-the-box thinking.
luzern, switzerland
swiss museum of transport 2.4.3
Road Transport Hall
The Road Transport Hall building is part of the entire Swiss Transport Museum complex designed by Annette Gigon & Mike Guyer. The façade is covered with road direction signs seen from the front, while the rear façade, facing the other buildings, is formed by signs but mounted inversely so that the silver stark signs are visible just as they are visible to oncoming traffic. The elevation refers to a museum where you can learn how road transport works in Switzerland, how road networks are connected and about mobility in general. Figure 2.8 Swiss Museum of Transport via Gigon/Guyer Architekten
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Figure 2.9 Grafting wayfinding via Bildi
catalonia at venice / biennale di venezia 2014
grafting architecture 2.4.4
The visual identity system for Venice during the 14th Biennale di Venezia was inspired by the process of grafting trees. It is based on a beautiful dialogue between what already exists and the future, new elements, combining old materials with a new intervention. As the graphic artists who worked on this visual code describe: “to avoid visual pollution, interventions in public space must be integrated into the urban landscape, in other words: they must be grafted onto the city” (Bildi, 2014) Four regulations were established according to which the elements of communication were then created: Typography and Resources, Materials and Colors.
copenhagen, denmark 2.4.5
superkilen
The design is an ideal (fusion) of architecture, landscape design, and art, thus reflecting the diverse environment around. Each area is distinguished by a different color: green, black and pink, creating a huge park with the necessary urban furniture. Signs on the ground designate a place for infrastructure, delineating different zones of space and shaping the traffic for pedestrians and bicycles. The project shows how you can coherently combine the diversity of landscapes, cultures, inhabitants and the elements of everyday life that are important to them.
Figure 2.10 Suk Image by Iwan Baan via Archdaily
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Figure 2.11 Virtual Depictions via Refik Anadol
san francisco, usa 2.4.6
350 mission
As the author Refik Anadol said: the public space, it’s so frozen, that people are going to lose their motivation to go out (2015). The “Virtual Depictions: San Francisco” project is an example of how new media intertwine with architecture and urban space, creating immersive, site-specific interventions. Real-time data about the city, such as sound, light, air quality, acoustics, human movement, ecological dimensions, social preferences, are used for visualization, and then, using the software, they are translated into unique images, which are also visible outside, from the street. It is public art - a series of parametric data sculptures that tell the story of the city and people around it, but it can also be used in the future by architecture to react and adapt to changes in the city, the environment, and the people who use it.
billund, denmark 2.4.7
legoland wayfinding
Wayfinding is a discipline that will always use analog signs and relies on the physical elements in the environment. However, this experience can be supported by new technologies. Dutch Studio 5 proposed an application based on augmented reality, which allows users not only to find their destination but also shows information about queues in real-time. Users follow the Lego avator, which is the equivalent of a guide - it shows interesting places, chooses the shortest path, and makes a simple walk in the park even more immersing in the world of Lego, and thus attached to the brand. On the other hand, a park can collect information on the most frequently traveled roads and selected attractions and manage them appropriately. The combination of the physical and digital world introduces an additional dimension to sightseeing. Figure 2.12 Augmented-Reality Wayfinding via Wonderment Lab
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chapter three
reflection
Reflection is the process to clarify and sum up all the steps taken so far and introduce the proposed strategy to the Autodromo Nazionale Monza.
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multiscape experience
RE F L ECTI O N
3.1
Multiscape experience is the sum of five aspects that must exist to create a complete experience. Based on previous research, a joint multi-layer program of interdependent elements has been developed. The diagram refers to the aforementioned circuit of landscape and circuit of the culture built by Du Gay (see figure 1.29 p. 99), but its framework has been tailored to the needs of branding environments. Building the Multiscape Experience starts with the identity of Autodromo Nazionale Monza. The brand identity (1), its main strengths, and historical aspects in connection with the characteristics of the landscape create a solid foundation on which the entire experience is based. It also makes all subsequent steps tell a true story that is reflected in the intangible elements. This is the descriptive part, which then has to be translated into the design language - tangible. Then it is necessary to define the target group, to characterize the current and future users (2) so that it is possible to define the probable scenarios afterward.
The similarity is visible in creating the customer’s journey, which has an impact on the subjective perception of the place and all the events taking place there. The narrative of the place will translate into the development of a representation (3) that is nothing else than all places where the brand meets the user, taking into account regulations (4) for specific solutions. Standards will be set for a wide audience, therefore the most important will be accessibility and the newly adopted covid standards, but also language barrier will be taken into consideration. The concept of representation includes touchpoints, both internal and external, physical elements, but also virtual space, interactions between staff and visitors, and all the factors that influence the emotion and sense of what Autodromo Nazionale Monza is. The fifth element crowning the experience is the previously described strategy (p. 138), which determines the main design direction, and influences every stage of the process.
E E P XPER A C S I LT O NAZIONALE MONZA - EN IENC U M TODROM OUCHPOINTS - TOOLS VIRON E AU
EM NT
T
REGULATION
REPRESENTATION:
SCENARIOS
HARDWARE +SOFTWARE 3
STRATEGY
1
IDENTITY BRAND VALUES
Figure 3.1 Multiscape experience
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values of autodromo nazionale monza 3.2
innovation
RE F L ECTI O N
IDENTITY
3 2 4
5
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change improvement
tests
evolution
innovation experiments
heritage
movement aerodynamics
automotive cars professionalism research
F1
transition
progression
development technology
AUTODROMO DI MONZA
contradictions
timeless
history
heritage
italian uniqness
melancholy
temple temple
freedom
speed
nature park sport
competition attachment
emotions
fans tifosi
people drivers teams cooperation Figure 3.2 Values of Autodromo Nazionale Monza
passion
heritage - historia w lom abardii, sportów, znany n swiecie, wynalazki uniqness - lokazlizacja, h toria, fani
mna
his-
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Figure 3.3 Juan Manuel Fangio at Monza 1949
HERITAGE The Autodromo Nazionale Monza is one of the oldest and one of the most famous racetracks in the world. Opened to the public in 1922, it has become a mecca of motorsport with a unique atmosphere and fans who have permanently entered the landscape of the Autodromo Nazionale Monza and the Fromula 1 races. The track is part of the landscape of Lombardy and the whole of Italy, becoming an iconic track. Due to its location in a park, surrounded by greenery, it is a unique track and the only one so located in the world. Not only the track itself is so unique and important, but also the historical inventions that were born here, the most important are: the guardrail (1955), the asphalt drainage (1999), the transponder in Radio Frequency (1989) for the identification of vehicles and control times and CPE Electronic Protective Helmet (2009) (according to Monza Research Institute).
Figure 3.4 The Tifosi at Autodromo Nazionale Monza via Scuderia Ferrari
SPEED Called the Temple of speed (Tempio della Velocità), Autodromo Nazionale Monza considered the fastest track in the entire Grand Prix calendar. All six speed record races took place in Monza. The highest speed achieved was 350kph, while the lap record was 257.35 kph obtained by Rubens Barrichello from Ferrari in 2004. In the early years of the track’s operation, for this reason, many accidents, including fatal ones, took place during the races, so it is also very important to innovate solutions and evolve technologies and designs that allow for the introduction of appropriate changes and modifications.
PASSION Tifosi stands for a group of fans supporting their sports team. However, as is well known, loyal fans of Scuderia Ferrari in Formula One are behind the term tifosi, known for their love for the Ferrari team, as well as other Italian teams, including Alfa Romeo, Maserati and Lancia. The Tifosi have become the symbol of Italian Formula 1 racing, they complement it and races don’t look the same without them. It shows the amazing attachment, character and emotions that can arise between sport and people. The fans’ passion for racing, but also the passion of drivers, crews and organizers is what you can see and feel.
Figure 3.5 Richie Ginther, Phill Hill, Jim Clark, Ricardo Rodriguez: Ferrari 156 Shark Nose, Lotus-Cliamxc21, entering the banking of the legendary concrete Oval - Autodromo Nazionale Monza, Italian Grand Prix,September 09, 1961. via F1geeks.com
Figure 3.6 Red Bull team
INNOVATION The idea of building a racetrack initiated by the Automobile Club of Milan was born from the growing need to test new solutions in cars, and to show the possibility of building the fastest cars in the world. Thus, it has become a kind of laboratory in which research, experiments and tests of new solutions and technologies are carried out. At Autodormo Nazionale Monza, there is the MRI Monza Research Institute, as it writes on the website, it is a socio-technological center aimed at providing technologically advanced solutions for public and private purposes, combining various skills and cooperating with the sector of companies, universities and foundations. The main areas of activity include road safety, transport, Alternative energy and sustainability and the development of new technologies.
UNIQUENESS Monza is one of the world’s most iconic circuits - not only because it is the oldest track on the current Formula 1 World Championship calendar, but also due to its unique location, remarkable history and loyal fans. The track, as previously mentioned, is located in the Parco di Monza, surrounded by forest and historic buildings.
EVOLUTION To develop and deserve the title of the fastest track in the world, Monza has undergone many modifications and improvements. Since 1921, the track configuration has changed many times, some bends have been added or removed, and the track itself has also been changed. Currently, the track has a normal and Junior track. all this in order to maintain the maximum safety of drivers and audience, with the possibility of achieving record speeds at the same time. All of this while maintaining the spirit and identity of Monza.
Figure 3.7 Monza historic
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CONSUMPTION - POSSIBLE SCENARIOS OF AUTODROMOM NAZIONALE MONZA
3.3
scenarios
I propose three scenarios that are a part of the Multiscape Experience of Autodromo Nazionale Monza series. The main purpose is to show the track visitor’s path in different situations on the occasion of different events, it covers the most important areas of the track, the touchpoints, and the level of user interaction with them. The scenarios show how Autodromo Nazionale as a brand presents itself in internal and external interaction. I will examine whether the current points are sufficient to make a decision, intuitively navigate the track and where customers may encounter a problem, which affects the quality of the service received, and thus the perception of the brand. Mapping these points of contact will help me design an appropriate intervention program to improve the experience. According to research by Matt Roberts, the general director of the Research and Analytics Department of Formula 1 - launched in 2017, overall satisfaction with Grand Prix attendance is positive for over 73% of people. What the results showed was that the level of satisfaction was influenced by the attractions in the Fan Zone as well as concerts and music events. In addition, fans want to better understand and learn about the history of the sport, the track and to be closer to the drivers while on the
3 2 4
5
1
track. Formula 1, together with Meshh, tracked in detail every visitor movement on 8 tracks around the world, including the Autodromo Nazionale Monza, to better map the experience path and find strengths and weaknesses. The conclusions drawn by the research team clearly indicated that people very rarely left one zone, they did not move to other places on the track. The problem was the lack of visible encouragement of fans to visit other zones in the center. Moreover, one of the studies shows that fans very often do not know what zone they are visiting. This points to the insufficient signage of the area that is on the F1 side during the Italian Grand Prix, but when it comes to overall wayfinding and track driving, it is the responsibility of the Autodromo Nazionale Monza. The scenarios are as follows: the path of the fans during the Italian Grand Prix, where the most important internal points are listed, the next one is to show the experience during a normal day together with a guided tour experience it aims to show the connection with the virtual value using augmented reality in physical space. The last scenario is an external situation, such as fairs or events to promote racing at the Autodromo Nazionale Monza, but taking place outside Monza.
A B C
Italian Grand Prix
Guided Tour
Exterior scenario
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Figure 3.8 Possible scenarios
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RE F L ECTI O N
POSSIBLE SCENARIOS OF AUTODROMO NAZIONALE MONZA
3.3.1
A
italian grand prix
The Italian Grand Prix has been held at the Autodromo Nazionale Monza continuously since 1950 (with the exception of 1980, where the race was held at Imola). In 2013 it became the most held Grand Prix in the world, which makes this toaru unique. Each visit to the Autodromo Nazionale Monza is not only the track, but everything that surrounds it and makes
9
our visit multidimensional. To get to the track itself, we have to go through the Parco di Monza, the paths lead among trees, which gives the impression of a hidden and mysterious track. To get to the stands, we have to go under the track under the underpass, the main square with the food and retail area and the official offices of Autodromo Nazionale Monza.
8 7 6
Figure 3.9 Italian Grand Prix scenario
5 4
3
2
Encouraging the visit,
OPPORTUNITIES preparing a visit, program
Figure 3.10 User journey map during Grand Prix Italy
Crossroad, underpass Meeting point, interpretive tunnel, place making, decision area
Square, crossroad Decision area, meeting point
T AR
E A / R E S TA U
R
Square, shops, bars & restaurant, info point, place to rest, exhibition area, guided tours start point, bicycle rental Meeting point, chill & rest area, info point, landmark, food & retail area, exhibition area
FINDING PLACE
FINDING TRIBUNE TRIBUNES 12
ga
13
13
WALKING 250 M
VARIANTE ASCARI
12 14
15
16
15
14
TRIBUNES
tunnel, path
crossroad
Entrance to tribune,
interpretive path
decision point
Entrance to tribune,
Retail and Food Area
LOOKING FOR SEAT
tribunes
2MIN
10
TRIBUNE
o es t at
N
PATH
TUNNEL - JUNIOR PISTA
DECISION POINT
SPEED FOOD DECISION AREA F1 MONZA SHOP
AN
E RP A SS P E D
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Meeting Square
Tribunes
Decision points
Driveway, Via Biassono
VIA PE R
Meeting point, gate = landmark, welcome experience, interpretive path, decision point
R IAN
T
Train Station, Bus stop, entrance gate, signages, path
PATH
ST
CE
AUTODR
Webstite, social media
OFFICES
IO
VIRTUAL LAYER
TOUCHPOINT
CHILL & REST AREA
E
DECISION POINT
8
WAY TO TRIBUNE
ERAL AD GEN MI S
E X HIBIT
WALKING 800 M
COFFE BREAK, SHOPPING, MEETING
CIRCUIT
CROSSR OA
O ENTRANCE AN G ED
FOOD & RETAIL AREA
7
tribunes
WALKING 800 M
6
INFO POINT
UN D
EN
BIA
LOOKING AROUND
DS
E E X P E RI
BUS STOP
AUTODROMO NAZIONALE MONZA
ENTRANCE
EA AT
SIT
A IN ST TION M RA
ZA ON
W
EB
BUS SHUTTLE 20 MIN
PARCO DI MONZA
5
4
s to te
O NAZIONAL OM
ONZA EM
JOURNEY
ARRIVING
BUYING TICKETS
V
EXPERIENCE
MONZA
3
TRIBUNES ON SI
Main Entrance gate pedestral and car
DECISION TO PARTICIPATE
2
NO SSO
Viale Enzo Ferrari main entrance Vedano 1
5
9
3
g
2
Main Entrance gate pedestral and car
VISITOR JOURNEY MAP
RACE
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RE F L ECTI O N
POSSIBLE SCENARIOS OF AUTODROMOM NAZIONALE MONZA
3.3.2
guided tour
If you want to visit the Autodromo Nazionale Monza and learn about its history, the track provides us with several options. We can visit the track on our own, by walking or renting bikes, book a guide who will show us around the iconic places, and take advantage of the Augmented Reality Tour made available in 2016. Autodromo Nazionale
B
Monza is the first track in the world to introduce innovative solutions and use virtual reality to bring its history closer. In designated seven locations, we can see three-dimensional reconstructions, historical films, and stories related to the Monza track and the world of motorsport.
3
2 4 1 6 7
Figure 3.11 Guided Tour points
5
VISITOR JOURNEY MAP
W
EB
SIT
E E X P E RI
CHILL & REST AREA
INFO POINT
EN
BICYCLE RENTAL SPEED FOOD
VIRTUAL LAYER
4
HISTORICAL AREAS
VIRTUAL GUIDED TOUR
3
9 STOP POINT
FINDING TRIBUNE
Porta del Serraglio
3
Parabolica Nord
1
Statue of Juan Manuel Fangio
WAY TO AR POINTS
2
Le Curve Sopraelevate
PATHS
2MIN
START POINT
2
SPACE IN-BETWEEN
FOOD & RETAIL AREA
3 Interpretive Path
1
O NAZIONAL M O
ONZA EM
JOURNEY
Decision point
LOOKING FOR INFORMATION
AUTODR
EXPERIENCE
BOOKING A TOUR
2
CE
Food & Retail area
InfoPoint and Bicycle rental
1
FINDING PLACE 3
WALKING 250 M
FINDING PLACE
2
BICYCLE 250 M
1 6
4 5
7
F1 MONZA SHOP
TOUCHPOINT OPPORTUNITIES
Webstite, mail Preparing a visit, program, booking additional attractions
Square, shops, bars & restaurant, info point, place to rest, guided tours start point, bicycle rental,benches Meeting point, chill & rest area, info point, landmark, food & retail area, exhibition area, social area, fan zone
Figure 3.12 User journey map during guided tour
path
crossroad
interpretive path
decision point
Paths -> spaces in-between, special points connected to AR glasses
Telling story about the place with different medium: AR glasses, smartphone application or without - information available directly on site (interpretive points)
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RE F L ECTI O N
ANALYSIS OF THE FORMS
inspiration and main design drivers 3.4
The first associations that come to mind about the racetrack are cars, speed, noise. Expanding the slogans of cars, there are associations of dynamics, power, and also the car body and its design. During Formula 1 races, the cars reach speeds of up to 330 km / h thanks to ever more advanced technology. All this is possible thanks
to research and experiments in the field of aerodynamics, which are the most important factor in the design of cars. Thanks to research in wind tunnels, it is possible to obtain the appropriate form of the body and additional elements with the lowest possible loss in speed and acceleration. As the drag coefficient depends on the shape of the surface,
Figure 3.13 Design inspiration
TIRES TRACES
MOVEMENT
“The racetrack needs to stimulate the driver’s imagination (...) This is helped by elevations, blind turns, combinations of fast and slow curves” Hermann Tilke
TRACK CONSTRUCTION
the lower the resistance value the smoothest the shape is, and the fastest the car becomes. But speed depends not only on the cars but also on the track and surface conditions. It is properly designed curves that make the track one of a kind, unique and safe at the same time. The Autodromo Nazionale Monza, the historic highspeed oval designed in 1954 as part of a major track reconstruction, can boast one of such turns. The curve at its steepest has a slope of up to 80 percent and although it was closed in 1969 as a result of safety concerns, it is still open to the public today, many drivers visit this iconic corner every year and many teams and companies use it in their advertising spots.
SPEED
Autodromo Nazionale Monza
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RE F L ECTI O N
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3.5
developing shapes
Figure 3.14 Shapes sketches
Figure 3.15 Autdormo Nazionale Monza - shape sketches
A common term which we can call the shapes that emerge after analyzing the structure of the track, the shell of automotive design or the shape of streaks used to visualize the flow around a car inside a wind tunnel, i.e. the main design drivers to streamlined. The soft and smooth lines that build the shapes give the impression of movement and fluidity. The word streamline also
means: “to improve the effectiveness by making the way activities are performed simpler.” (Camridge Dictionary, 2021) Which gives a double meaning to this shape and its subsequent use in the design and development of a strategy for Autodromo Nazionale Monza. From literal shape inspiration when designing elements, to the materials used, to the very functioning and usability.
Autodromo Nazionale Monza
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RE F L ECTI O N
FORMAL LANGUAGE DEVELOPMENT
3.6
materials research automotive industry
MATERIALS
85% of today’s Formula 1 cars
composite materials Composites are made from combining two or more v ery different materials together to create a composite with optimised properties.
FIBRES carbon fibres
glass fibres
aramid fibres
sandwich structure
natural fibres
autodromo nazionale monza
urban spaces galvanized steel
uhpc
coated steel
wooden lamelas
paving pant
green
metal mesh
plastic
green
concrete
tempered glass
new approaches
3D printed PP and PE plastic wastes
Print your city
Material consiting of mycelia substrate Mycoform
3D printed sand
Selflighting concrete
Cybersis
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RE F L ECTI O N
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Figure 3.16 Material inspiration board
The materials used for the project are to reflect the spirit of Autodromo Nazionale Monza, relate seamlessly to history and support its values. At the same time, I wanted the selection of materials to show innovation, modern solutions, and support digital technologies, which, as shown in previous research, will be used more and more often integrated with current systems to better organize and manage space in everyday use as well as in emergencies such as the example of the COVID-19 pandemic. To ensure a smooth flow of information, the project includes digital information kiosks that show current and upcoming Autodromo Nazionale Monza events as needed, as well as situational information. The e-ink, known from electronic readers, was used as the display. In 2015, e-ink was used on the facade of San Diego International Airport and since then it has been used with increasing success in architecture, exhibitions, furniture production, and public spaces. The e-ink display is energy efficient, traditionally powered, but can also be autonomous integrated with photovoltaic solar cells to power wirelessly. The display does not support light pollution as it does not emit light. E-Ink looks the same regardless of the viewing angle and illumination, so even in sunny weather, the information is clear and visible. The image is also not distorted when touched, and in addition,
this type of display is characterized by very low energy consumption, which is only used when the image is changed. What is very important, the information displayed can be changed remotely, by connecting to the Papercast system, we get an information management system, a database, and the ability to monitor and diagnose remotely. Colored in mass concrete was used to make the benches and elements of small architecture, etched and waterproofed. For etchings, it is recommended to use Eco-Etch Pro, which is a waterbased non-hazardous, non-corrosive, biodegradable concentrate concrete, an alternative to the frequently used acid etching. Can be used for external use. All elements have been covered with a hydrophobic center, which repels water, which then clumps into drops and easily flows down it, thus gaining selfcleaning properties - after wetting, the dirt dissolves in the water and leaves the surface with it. As the guiding material, I chose a red perforated sheet, which on the one hand refers to the appearance of the fibers used in the construction of rally cars, and on the other hand refers to the safety nets, which are an indispensable element of the Autodromo Nazionale Monza.
Autodromo Nazionale Monza
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RE F L ECTI O N
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Multiscape: New Design Strategy
STRUCTURE OF THE PROJECT
3.7
layers
Just as Autodromo Nazionale Monza is multi-layered, the project also consists of several layers that overlap, support, and complement each other, creating a multiscape experience. The first two lower layers relate to wayfinding, creating a system that facilitates communication around the park and the track. The first layer contains 2D elements, i.e. all kinds of graphics and signs on the ground or on the facade of buildings, walls, or other surfaces, and these are usually directional or identification signs. The second layer is physical marking in the form of boards, totems, or other architectural elements, also referring to the system of finding the right way. The third category includes other 3D elements such as street furniture or urban furniture. According to the assumed strategy, these three layers make up the hardware. Elements such as social media, brand promotion, branding, website are tools from the software category. The last value that should appear when creating the Multiscape Experience is the value of the technology layer, which will especially
have an impact on creating additional scenarios, sudden changes in current scenarios or simply improving and supporting existing scenarios. As the Design Forecast experts from Gensler emphasize in the Digital Experiences webinar (2021): Design Strategies for a post-COVID world, the technology should be a value that supports the other four from the beginning, it should not be added at the end. Its function is to be continuous and invisible support. It’s hard to change the entire layout of an object, the physical space. You can add supporting signs from layers 1 and 2, while the main tool should be top-down management of the facility and adjusting messages, people flow, a number of people and places visited according to a given scenario, whether it is a pandemic or a big event such as Formula 1. Modern technologies provide such an opportunity, it is a huge complex system of communicating vessels, but in the long run, it offers endless possibilities to control, change and adapt to specific scenarios.
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LAYER 00
SOFTWARE
LAYER 04
TECHNOLOGY LAYER - SUPPORT SENSORS ETC
4D DIGITAL & EDITORIAL LAYER
LAYER 03
HARDWARE 3D
ARCHITECTURAL STRUCTURES URBAN FURNITURE
LAYER 02
3D WAYFINDING LAYER 01
SIGNAGES
2D HORIZONTAL LAYER GRAPHICS FLOOR SIGNAGE Figure 3.17 Project layers
chapter four
implementation
The implementation stage is the final stage in the process. Here, all relevant information and comprehensive research are translated into artifacts that reflect the nature of the Autodromo Nazionale Monza using different media and combining different design domains such as interior, landscape, environmental graphic design, and new digital media.
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NEW BRANDING TOOL
branding structure
4.1
In order to implement a branding strategy, the branding structure is introduced to clearly see the necessary elements, their functions, the scope of operation, type, and the level of availability. This helps to choose the appropriate element required in a given scape, or even create new ones, according to current needs, but always being a continuation of the existing ones. The structure is a cross-section of the layers that appeared in the previous chapter, so as to easily control several areas, from architectural elements to marketing activities simultaneously. This allows to manage the elements and build a coherent strategy based on
HOW TO READ THE DIAGRAM?
1 5 BRANDING STRUCTURE
1
FUNCTION
2
TOOL
3
LONGEVITY
4
ACCESSIBILITY
5
PERCEPTION
integrated activities at various scales. It can be treated as a guideline that sets a certain path but does not limit the creation of new solutions. The layers complement each other albeit they operate in different spaces, which cannot be treated without the context of the others, so for the purposes of this work the layers will be listed in the order 1-5, but only the overall picture helps to understand the operation and participation in the strategy of a particular layer. This is why arranging the layers in the order of 1-5 should not be treated as a hierarchy of importance.
The 30 elements that make up the Autodromo Nazionale Monza branding structure are arranged in a circular diagram as the layers operate on the same level, albeit in different spaces. Vertical lines represent each individual element, while horizontal lines, in order from the top to the center of the circle, are different variables that characterize a given element. There are five variables according to which the appropriate element can be matched, i.e. the function it performs, the longevity, the type of availability for users, and the level of perception of the elements. The outer black circles indicate belonging to the layer, while the outer dashed line circle is a technology layer that affects all elements.
IO
R
DI
N
AG
ING
TOOLS
HARDWARE
EVE N POS T TER S
RIOR INTE ONS CTI DIRE
LEAFLETS POCKET MA P
S
E INTERPERTIV SIGN
BRANDING STRUCTURE
INTERIOR WAYFINDING
INTERNAL
EXTERNAL
BOTH POSSIBLE
LONGEVITY AR SPOT PERMANENT
H MES ENTS ELEM
IDE N TIO TIFIC N S AIGN S
OU GR NS SIG
I
NC
BOTH POSSIBLE
PUBLIC
RESTRICTED
NOT APPLICABLE
PERCEPTION
WASTEBINS
S
HE
L ITA DIG EM TOT
LOGO
CHEC KP GATES OINT
1
BE
R
T NU RIB M UN BE E RS
HIC
YE
R5 YE LA
LA
S
D PA
TEMPORARY
ACCESSIBILITY
LA YE R5
ND
CIR C SUP UIT ERG RAP
SOFTWARE
ACCESIBILITY
IDEN TION TIFICA TOT EMS
GR SP APH ON IC SO S RS
SOCIAL
IDENTIFICATION
N TIO S C N N JU SIG
L HE
INTERPRETIVE
EM
AP
LEA MO FLET DU LE
DIGITA KIOSK L M2
DIGITAL KIOSK M1
RO UT
LA YE R
AT
AL N N TIO SIG C E
R5 YE LA
CK
IC
DIRECTIONAL ORIENTATION
R2 YE LA
PA
PL
S ET
AP
FUNCTION
DG
4
ITE WEBS
5
IAL SOC IA MED
R YE
GA
LA
VARIABLES
L
R E Y A
3 HELICOPTER
CAR
BIKE
PEDESTRIAN
LAYER 5 - TECHNOLOGICAL SUPPORT
DS
M
Directional panel
Mesh element
Mesh element
M direction
4000
3000
2000
2nd layer
M
1st layer WI
M
Mesh element
nal signs
Interior wayfinding
Mesh element
identification signs
DK MP
welcome point
5000
4000
3000
2000
2nd layer
interpretive signs AR IA IT
Tribune number ID.T
IN
Area Totem ID.AB
DJ
Area name ID.AS
directional signs Interpretive sign IN.H AR spot IN.AR
DS
Junction signs DS.JS
Directional sign DS.D
DK
Route map stand OS.MP
LS
Digital kiosk OS.DK.M2
Leaflet stand OS.LS
Digital kiosk OS.DK.M1
orientation signs identification signs IN
CH
Checkpoint Gate UE.B
FB LM
3rd layer Wastebin UE.W
Logo UE.LM
DG Benches UE_BX
Digital totems UE.DT
FB
Benches UE.B
urban elements W
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2D HORIZONTAL GRAPHICS AND SUPERGRAPHICS
4.2
layer 01
The first layer is mainly a 2D layer - flat graphics or markings on the ground. These include supergraphics that appears directly on the track and creates a track design around the most important corners. These are graphics designed strictly for Autodromo Nazionale Monza, but also temporary sponsor graphics that must be visible at various events. These elements give a strong picture during TV broadcasts
and are mainly seen from the helicopter shots, creating a complete picture of the track. The smaller-scale elements are the road signs forming the wayfinding, mainly indicating the road and identifying the area. An important part of this layer is the marking of buildings, inside and outside, and the stands, so that fans and staff can easily move around the track.
ELEMENTS:
Supergraphics - circuit SS Supergraphics - sponsors HP Heliports WI Interior wayfinding WX Ground level signs M Mesh elements SM
191
S2
M4
M5
VARIANTE DELLA ROGGIA
M3
CURVE DI LESMO
CURVA GRANDE
S1 VARIANTE DEL RETTFILO
M2 S3 M6
VARIANTE ASCARI
H1
H2
M1
CURVA PARABOLICA
LEGEND
M1
SUPERRAPHICS AUTODROMO NAZIONALE MONZA
S1
SUPERRAPHICS SPONSORS
H1
HELIPAD
H2
MEDICAL HELIPAD
Autodromo Nazionale Monza
INTERVENTION MAP
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PERMANENT AND TEMPORARY RACE TRACK DESIGN
circuit supergraphics
SM SS
4.2.1
CHARACTERISTIC VARIABLES: IDENTIFICATION
SOFTWARE
INTERNAL
PERMANENT
PUBLIC
HELICOPTER
TEMPORARY
The graphics on the track stands for the identity of Autodromo Nazionale Monza. They are especially visible during television broadcasts of helicopter shots, which are the most frequently shown shots during Formula 1 races, for example. Depending on the event, the graphics can be permanent or temporary. Fixed graphics appear as a direct identification of the Autodromo Nazionale Monza track, as its characteristic and distinctive image among other tracks in the world. Supergraphics are made with a special water-based and high friction paint from Roadgrip, which is characterized by anti-slip, and for safety reasons, low-
profile paint to minimize the occurrence of any indignation on the track. Most importantly, it meets the FIA safety requirements. Due to the fact that the paint is water-based, it makes it the most environmentally friendly option. Depending on the event, temporary markings, graphics, whether necessary for the race or sponsorship graphics, may appear on the track. The paints used to make such graphics are relatively easy to remove after the event is completed using the ultra highpressure water system. The pattern of supergraphic refers to posters made in 1948 by Max Huber for the Autodromo Nazionale Monza.
Figure 4.1 Max Huber - posters for Autodromo Nazionale Monza
230 m
230 m
M1 CURVA PARABOLICA Autodromo Nazionale Monza
193
230 m
Multiscape: New Design Strategy
M2 S1 VARIANTE DEL RETTFILO
100 m
50 m
250 m
40 m
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194
350 m
M3 CURVA GRANDE
100 m
250 m
40 m
Autodromo Nazionale Monza
195
430 m
Multiscape: New Design Strategy
S2 M4 VARIANTE DELLA ROGGIA 60 m
35 m
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196
60 m
67 m
M5 CURVE DI LESMO
140 m
170 m
Autodromo Nazionale Monza
70 m
197
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Multiscape: New Design Strategy
M6 S3
VARIANTE ASCARI 130 m
50 m 23 m
65 m
Autodromo Nazionale Monza
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Multiscape: New Design Strategy
4.2.2
helipads
CHARACTERISTIC VARIABLES: SOFTWARE
ORIENTATION
INTERNAL
PERMANENT
PUBLIC
HELICOPTER
TEMPORARY
IDENTIFICATION
One of the tasks facing Autodromo Nazionale Monza is to attract various fans to events, not only in terms of age or gender, but also the level of social class. Therefore, one of the services available to guests at events such as the Grand Prix Italia is the possibility of using helicopter transfers or private helicopter parking. The heliport is located in a grassy area, therefore a special solution is needed to make it, which will be sufficiently rigid, possible to be mounted on the grass, and will fulfill its function also in difficult, wet
conditions. The area is also used for the organization of various events, where it is possible to paint the grass with ecological paint for image purposes. The second type is the medical helipad, which is located right next to the medical center by the track. The helipad is built on the concrete surface, while the signs are painted on the surface. The colors, materials from which the helipads can be made and the design assumptions meet the standards and regulations of ICAO (International Civil Aviation Organization).
30 m
1
9m 2
1
FATO AREA (FINAL APPROACH AND TAKE- OFF) 30 x 30 m
2
TLOF AREA (TOUCHDOWN AND LITOFF) load-bearing and paved area
3
RED H WITHIN A VWHITE CROSS
4
SAFETY AREA
3m
9m
30 m
1,8 m
3
0,4 m
4
Figure 4.2 Helipod for medical purposes - regulation
201
Autodromo Nazionale Monza
Medical Helipad
Painted graphics on the grass during large events
Multiscape: New Design Strategy
interior wayfinding
4.2.3
CHARACTERISTIC VARIABLES: SOFTWARE
INTERNAL
PUBLIC
PEDESTRIAN
TEMPORARY
800
8
2300
200
CIRCUIT OFFICE RESTAURANT PRESS ROOM VIP ROOM
CIRCUIT OFFICE RESTAURANT PRESS ROOM VIP ROOM
1350
IDENTIFICATION
2
PERMANENT
1350
DIRECTION
Services
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1800
1800
650
INTERIOR DIRECTIONAL Interior wyfinding WI
TYPE:
N01
TYPE:
N02
Interior wayfinding
WI
TYPE:
N03
4.2.4
mesh elements
CHARACTERISTIC VARIABLES: HARDWARE
DIRECTION
INTERNAL
PERMANENT
1500
IDENTIFICATION
900
Mesh elements TYPE: W02 D TYPE: W01
PUBLIC
PEDESTRIAN CAR & BIKE
Autodromo Nazionale Monza
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THREE DIMENSIONAL SIGNAGE
4.3
layer 02
The second layer is mainly the layer focusing on signs, markings, and elements that help users find the way, i.e. the so-called wayfinding. The elements have been divided into four main categories in which we can find different types of characters. Starting with Orientation Signs, which help in broadly understood orientation, Autodromo Nazionale Monza is about general site maps, park maps, and maps of specific routes. Another category is Directional Signs, i.e. signs that communicate and show a specific route and allow you to reach your destination. Interpretive panels help you learn more about the history of the place, people, or events related to Autodromo Nazionale Monza. The last category is Identification Signs, which make it easier to recognize a given area or identify the stands faster.
ELEMENTS DK DK LS MP
DS DJ DI
IN AR
IT IA IN
ORIENTATION SIGNS OS.DK.M1 Digital kiosk Module 1 OS.DK.M2 Digital kiosk Module 2 OS.LS Leaflet stand Module 3 OS.MP Map - route DIRECTIONAL SIGNS DS.D Directional sign DS.JS Junction signs DS.IN Interior directions INTERPRETIVE SIGN IN.H Interpretive Sign - history IN.AR Augumented Reality spot IDENTIFICATION SIGN ID.AB Area Totem ID.AS Area name ID.T Tribune number
INTERVENTION MAP
G-D
D M D
10
9 D
G-C D
M D I I
UF I
AR
D
D M
D
AR 8
LEGEND
D circuit
tribunes
D vehicul road
G-A gates and
I D
12
etrantrances
D
I UF
6
pedestrian street car parking
D
D
general admission
13 I
14 MD
16
5 D
18
4 D
20
DK
INFO POINT
D
AR
26 DK
FB
DS
D M
AR
23
IT
UF I
21 UF
FB IN
ORIENTATION SIGNS OS.DK.M1 Digital kiosk Module 1 OS.DK.M2 Digital kiosk Module 2 OS.LS Leaflet stand Module 3 OS.MP Map - route DIRECTIONAL SIGNS DS.D Directional sign DS.JS Junction signs DS.IN Interior directions
D IN
I
IN
LS
DI
D
24
MP
DJ
AR
DJ
25
FB
DK
DS
UF D
WX
MP
I UF
AR
26 26
19
D
D
UF
AR
D L M UF
1
Supergraphics - circuit Supergraphics - sponsors HP Heliports WI Interior wayfinding WX Ground level signs M Mesh elements SM
SS
D
G-B
ELEMENTS
D
D
15
IA IN
INTERPRETIVE SIGN G-E IN.H Interpretive Sign - history IN.AR Augumented Reality spot IDENTIFICATION SIGN ID.AB Area Totem ID.AS Area name ID.T Tribune number
URBAN EQUIPMENT Benches modules: A, B, C, D, E, F, G BE Benches modules exterior: 1, 2, 3 DG Digital totem LM Logo W Wastebin CH Checkpoint gate FB
MP 22 D I
DS
DJ DK LS
Underpass
LM AR
FB DJ CH
Main gate entrance / exit
AREA
WX DJ DS
G-A
decision point (1,2,3)
G-G
interpretive path
G-F
food & retail area entrance gate area tribune area
orientation signs 4.3.1
WELCOME POINT - DIGITAL KIOSK CHARACTERISTIC VARIABLES ORIENTATION
HARDWARE
INTERNAL
PERMANENT
PUBLIC
PEDESTRIAN
SOCIAL
The welcome point is the first element we come into contact with before entering the Autodromo Nazionale Monza. It connects two places - the park with the race track and serves as information. The welcome point consists of three modules that together create a coherent touchpoint with many functions. First of all, it introduces us to the Autodromo Nazionale Monza, introduces us to the location (Module 1) and the park, and its main attractions. To learn more, the interactive Module 2 gives us the opportunity to view current and upcoming events, important information, alerts and contact the track staff. The third module is dedicated
to all kinds of editorial materials of Autodormo Nazionale Monza, Parco di Monza and the city of Monza. Thanks to this, we can take with us a paper version of the map, calendar of upcoming events, or other current information. The height of all screens and devices is also adapted to people with disabilities, and the sound system allows you to listen to the information appearing on the screen. Modules 1 and 2 are equipped with solar panels that supply energysaving E-Ink screens (also used in book readers) and the lighting of kiosks, and built-in batteries allow for the storage of surplus energy.
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OS.DK.M1
Autodromo Nazionale Monza
DIGITAL KIOSK - MODULE 1
3
2
5
5
1
4
4
6
1 2 3
Aluminium weather-proof construction Mounting structure - SolidRail System - Mounting rails and cross connector: Aluminium Solar cell panels grid-off
4
Interactive screen wayfinding
5
Non Touch screen panel - map of Autodormo Nazionale Monza and parc
6
Base
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DK
DIGITAL KIOSK - MODULE 2
OS.DK.M2
3
2
7
5 5
1 4 4
6
1 2 3
Aluminium weather-proof construction Mounting structure - SolidRail System - Mounting rails and cross connector: Aluminium Solar cell panels grid-off
4
Interactive screen wayfinding
5
Non Touch screen panel E-INK
6
Base
7
Loudspeaker
BROCHURE STAND - MODULE 3
2
LS
Autodromo Nazionale Monza
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OS.LS
1
2
3
4
1
Aluminium weather-proof construction
3
2
Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern
Perforated steel sheet - Brochure Holder - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern
4
Base
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ORIENTATION MAP - ROUTE MAP
MP
OS.MP
CHARACTERISTIC VARIABLES: ORIENTATION
HARDWARE
INTERNAL
Orientation maps, especially road maps, are found on long stretches, the Autodromo Nazionale Monza trails, and facilitate localization relative to your destination. Due to the characteristic layout of the track and its surroundings, between the points and attractions there are relatively long, uninterrupted paths that run among the park parts without any markings. Therefore, orientation maps help visitors to find out how much
PERMANENT
PUBLIC
PEDESTRIAN CYCLISTS
is left to the destination and where the park we are. The signs resemble totems and are made of red metal mesh. All signs have an LED lighting system so that even on a cloudy day or in the evening they are visible and constitute a kind of sign on the trail. Thanks to their arrangement along paths, they are an ideal point for pedestrians and cyclists.
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Autodromo Nazionale Monza
6
2
3
4 3
1
5 3
4
6
1
2
Welded steel frame - Electrostatic powder coating - RAL 3002 - Curing stage Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern - Powder coating RAL 3002
3
Steel sheet
4
5
Linear LED light system - IP68, IK10 - 01 White, profile installation Rivets - silver
6
Steel sheets welded attached to frame
directional signs 4.3.2
DIRECTIONAL SIGN
DS
DS.D
CHARACTERISTIC VARIABLES: DIRECTIONAL
HARDWARE
INTERNAL
Direction boards contain a list of the most important points and places along with directions. They are most often found at decision points and all intersections and destinations. The boards are made
PERMANENT
PUBLIC
PEDESTRIAN CYCLISTS
of a characteristic metal mesh and each board is illuminated with a LED system. Therefore, it has a directional, but also an indicative function.
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Autodromo Nazionale Monza
6
2
3 5
4 3
1 5 3
4
6
1
2
Welded steel frame - Electrostatic powder coating - RAL 3002 - Curing stage Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern - Powder coating RAL 3002
3
Steel sheet
4
5
Linear LED light system - IP68, IK10 - 01 White, profile installation Rivets - silver
6
Steel sheets welded attached to frame
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ROAD - SIGNS
DJ
DS.JS
CHARACTERISTIC VARIABLES: DIRECTIONAL
HARDWARE
INTERNAL
Road signs act as additional signs to directional signs. They appear at paths and forks, pointing the direction to the place visible on them. Blanks are made
PERMANENT
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PEDESTRIAN CYCLISTS CARS
of aluminum ensuring durability and lightness of the sign with the possibility of possible replacement without removing the entire structure.
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5 4
2
4
3
5
1
1
Galvanised steel structure
3
Connector
2
Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern
4
Galvanised metal sheet
4
Rivets
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INTERIOR DIRECTIONS SIGN
DI
DS.IN
CHARACTERISTIC VARIABLES: DIRECTIONAL
HARDWARE
INTERNAL
The indoor board is a directional board indicating the most important places and informing about the current floor. Boards are usually placed close to communication routes, thanks to the fact that they are red in color, they are
PERMANENT
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PEDESTRIAN CYCLISTS CARS
better visible and characteristic. They are one of the next elements made of the perforated sheet in RAL 3002 color, additionally illuminated with LED system.
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1 2 3
4
5
1
2
Welded steel frame - Electrostatic powder coating - RAL 3002 - Curing stage Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern - Powder coating RAL 3002
3
Steel sheet - Powder coating RAL 3002
4
Linear LED light system - IP68, IK10 - 01 White, profile installation Rivets - red
5
interpretive signs 4.3.3
INTERPRETIVE PANELS
IN
IN.H
AR
IN.AR
CHARACTERISTIC VARIABLES: INTERPRETIVE
HARDWARE
INTERNAL
PERMANENT
PUBLIC
PEDESTRIAN
RESTRICTED
Interpretive panels are two types of elements that can appear together or separately depending on the type of space. Autodromo Nazionale Monza has a long and very interesting history that is worth telling and guiding visitors so that they have a chance to see all the interesting points. The first module is an interactive panel, which is located in important places for the track, tells a story, shows historical materials, and takes visitors to the world of racing. The second element is part of the system that Autodromo Nazionale
Monza has recently introduced as the first racetrack in the world, namely virtual reality glasses tours that show history alive. There are seven such points on the subject, which are labeled as interpretive panels. Thanks to this, apart from being transferred in history, you can also compare a place today, touch it and compare it to the present. The panels, in addition to information about the Augmented Reality point, also have a QR code that allows users to listen and see the story on their own smartphones.
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219
1 6
2
3
5 1
4 4
3
1
Aluminium wather-proof construction
2
Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern
3
Base
4
Interactive touch display
5
Loudspeaker
6
Metal sheet panel
identification signs 4.3.4
IDENTIFICATION TOTEMS
IT
ID.AB
CHARACTERISTIC VARIABLES: IDENTIFICATION
HARDWARE
INTERNAL
According to a study conducted by the Research and Analytics Department of Formula 1 in 2017 during Formula 1 races, most visitors to the Autodromo Nazionale Monza track have no idea what zone they have visited and which
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zone they are currently in. Which also translates into the willingness to move around the track and discover new places. Identification totems are to help name specific areas and highlight zones that are more often attended by fans.
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221
4
5
5
2
2
5
1 2 2 5
3
1
Truss column RAL 3002
2
Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern - Powder coating RAL 3002
3
Steel base - Powder coating RAL 3002
4
Steel sheet welded to construction
5
3D Text sign
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AREA IDENTIFICATION
IA
ID.AS
CHARACTERISTIC VARIABLES: IDENTIFICATION
HARDWARE
INTERNAL
The area identification sign is a continuation of totems. Their main function is also to distinguish and name a specific zone to which the visitor enters. Totems are visible from a distance, they show only the name and the beginning
PERMANENT
PUBLIC
PEDESTRIAN
of a zone, while area identification signs, apart from the name of a specific zone, show additional facilities, contain detailed information about a given area. They are also indicative.
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Autodromo Nazionale Monza
6
2
5 3
4 3
1 3 5
4
6
1
2
Welded steel frame - Electrostatic powder coating - RAL 3002 - Curing stage Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern - Powder coating RAL 3002
3
Steel sheet
4
5
Linear LED light system - IP68, IK10 - 01 White, profile installation Rivets - silver
6
Steel sheets welded attached to frame
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TRIBUNE IDENTIFICATION NUMBER
IN
ID.T
CHARACTERISTIC VARIABLES: IDENTIFICATION
HARDWARE
INTERNAL
SOCIAL
The numbers of the stands were presented as large three-dimensional digits, the forms are an example of lettering sculptures - the so-called typotectures. The stands are scattered around the facility, often hidden among trees, therefore they fulfill the
PERMANENT
PUBLIC
PEDESTRIAN CYCLISTS CARS
identification function. In addition, they are an interesting element of the landscape and a place to take a souvenir photo. The letters are generally available, you can sit or climb on them.
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225
2 1
2 2
1
2 2
1
2
1 2
Welded steel frame Perforated steel sheet - Hole 6mm, distance between mesh center 9mm - Perforation circular passing pattern - Powder coating RAL 3002 , RAL 5011, RAL 907 metallic
SMALL ARCHITECTURE AND URBAN EQUIPMENT
4.4
layer 03 ELEMENTS
FB BE DG LM
W CH
URBAN ELEMENTS Benches modules: A, B, C, D, E, F, G Benches modules exterior: 1, 2, 3 Digital totem Logo Wastebin Checkpoint gate
4.4.1
urban equipment
BENCHES CHARACTERISTIC VARIABLES SOCIAL
HARDWARE
INTERNAL
PERMANENT
Benches are very underrated elements in building and designing public space, in this particular case of a park and its surroundings. The benches fulfill a social function and can influence the perception and promotion of the brand of a city, park, or other space. Anna Rumińska in her book even mentions the phenomenon of Benchology as the strategy of activating public space. The main feature of the bench is ambivalence, which works in accordance with the movement of contradictions, and more precisely that stillness stimulates movement, that is, the more we can sit down, the more we walk (Anna Rumińska, p. 171). The Autodromo Nazionale Monza is a huge area, the very width of the track at its widest point is over 2 km, which for some
A
D
F
E
Y G X
PEDESTRIAN
visitors may prove relatively difficult to visit on foot. In addition to events such as Formula 1 or other car races, where the main attractions can be watched from the stands, Autodromo Nazionale Monza is also part of the park, open to the community that can visit and learn about the history of the track not only during great events. Two types of benches have been created - external and internal, which consist of modules, resulting in more opportunities to create smaller spaces around the track accessible to people, e.g. at decision points or at longer sections of roads, at maps or interpretive signs, creating small scapes. They can appear as single benches or as ready-made modules arranged in such a way as to encourage interaction.
B
C
PUBLIC
Z
Benches modules: A, B, C, D, E, F, G
FB
D
C
G
D
C
E
D
A
B
A F B
C
BE
Benches modules exterior: 1, 2, 3
Z Y
Y X
Z X
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DIGITAL TOTEM
DG
CHARACTERISTIC VARIABLES SOCIAL
HARDWARE
INTERNAL
INTERPRETIVE
PERMANENT
PUBLIC
PEDESTRIAN CYCLISTS
IDENTIFICATION
igital totems are one of the responses to the results of research conducted by the Department of Research and Analytics of Formula 1, where fans indicated being closer to the drivers and teams, getting to know the preparations, watching drivers’ habits behind the scenes as one of the missing elements for them on the track. Thanks to digital totems located in various places on the track, it is possible to broadcast interviews
on the track, films, or meetings with drivers for a smaller number of fans, not directly in the stands. What’s more, digital totems will prove themselves as external elements used temporarily during large events such as Grand Prix Italy to create a pop-up zone, e.g. at airports or in shopping malls, and thus build a positive brand image beyond the boundaries of the track.
AUTODROMO NAZIONALE MONZA SCULPTURE
LM
CHARACTERISTIC VARIABLES SOCIAL
HARDWARE
INTERNAL
IDENTIFICATION
One of the main goals of the branding strategy is to build stronger relationships with users on a subconscious level, and one of the spines is the characteristic Autodromo Nazionale Monza logo that appears in the form of a large sculpture at the main entrance to the track area.
PERMANENT
PUBLIC
PEDESTRIAN CARS CYCLITS HELICOPTER
It allows users to literally touch and experience the spirit of Autodromo Nazionale Monza, take a photo of which builds a customer-brand relationship and strengthens attachment to the brand.
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231
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SMART WASTEBINS
W
CHARACTERISTIC VARIABLES SOCIAL
HARDWARE
INTERNAL
Contrary to appearances, litter bins can also be one of the branding tools. The Autodromo Nazionale Monza smart garbage collection is made of stainless steel- durable and elegant at the same time, from small bins perfect for the interior to the garbage can for high traffic areas. The front of the baskets
PERMANENT
PUBLIC
PEDESTRIAN
resembles the grid that appears in wayfinding signs. In addition to the appearance, Senseo sensors have been installed in the bins, which support smart waste management by measuring the fill levels in bins and containers and optimizing waste collection routes and frequency.
CHECKPOINT GATE
CH
CHARACTERISTIC VARIABLES SOCIAL
HARDWARE
INTERNAL
IDENTIFICATION
As a facility, Autodromo Nazionale Monza caters to events of various scales. Checkpoint Gate is a place where, on the one hand, users can freely and “officially” enter the entire facility or a given zone - depending on the location, and on the other hand, it gives Autodromo Nazionale Monza great opportunities for smooth traffic management. In the upper part of the structure, there is an Ultima AI sensor that collects data about visitors within a
PERMANENT
PUBLIC
PEDESTRIAN CYCLISTS CARS
5m range. Thanks to the collected data, we can create unforgettable tailored experiences and better manage crises. In addition to basic functions such as counting visitors live, the sensor can also inform with visual alerts and warnings suggesting when occupancy limits are related to e.g. COVID regulations. Importantly, the device is GDPR compliant, so privacy is assured with anonymous counting, and no faces or personal data is recorded.
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VISUAL IDENTITY
4.5
layer 04
The fourth layer is software. It is the heart of the Autodromo Nazionale Monza. This layer includes guidelines for the logo, brand graphic appearance, colors, typefaces, which are later used in the design of all kinds of editorial and corporate materials, as well as applications, websites, or even in the use of social media.
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THE EVOLUTION OF LOGO DESIGN
4.5.1
logo refresh
The logo is one of the most important elements that build the brand image. It acts subconsciously on customers, thus strengthening the awareness of the brand and distinguishing it from the competition, it is a carrier of important information such as the nature of the brand, products and services offered, and signals to whom the offer is addressed. The logo of Autodromo Nazionale Monza has existed in the minds of fans since 1922 and its shape refers to the historic logo of Automobile Club Milano, which has been in existence since 1903 (the date of the creation of the logo is unknown). By browsing and learning about the history of existing automotive clubs, and companies related to the automotive industry, you can see a similarity in the use of gears, cogs as rims and the center of the logo to show the coat of arms. The gear wheel is undoubtedly associated with the development of technology, the history of motorization, and car components without which modern motorization would not exist.
The modern logo of Autodromo Nazionale Monza also refers to this tradition and harmonizes in terms of color with the logo of the Automobile Club of Milano. As can be seen in the diagram, there are currently different versions of the logo in use, which are changed in terms of color, which is likely to have an impact on the medium in which the sign appears, or, as can be assumed, depending on the place of use - signet, logotype, full logo. According to the assumed strategy, one of the most important goals to be achieved is the consistent use of visuals in each medium and the possibility of expanding the offer, introducing new collaborations and external collaborations while maintaining the full and consistent image of Autodromo Nazionale Monza. That is why it is so important to design a flexible graphic system, taking into account the current and future functions of the track, taking into account the various touchpoints in which it can be used.
LOGO EVOLUTION
REFERENCES
EXISTING VERSIONS OF THE LOGO
REFRESHED VERSION
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237
CURRENT CIRCUIT LOGO COMPARISON
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Logo construction grid GENERAL LOGO x
x
x
x 1/2
x 1/2 x 10
x 10
x 10
x
PICTORIAL MARK
x 10
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241
x
x
x 1,5
x 10
x 1,5
Autodromo Nazionale Monza
WORDMARK
AREA IDENTIFICATION SIGN x
x 1,5
x 1,5
x
x 10
MUSEUM
COLLABORATION SIGN
x 10
x
x
x 1,5
SILVER
COLOR OF TECHNOLOGY
AND INNOVATION
RE EXTENTIONS:
OGNI CURVA UNA STORIA historical curves that create the iconic shape of the circuit - each curve has it’s own story that’s why it will be the starting point for autodomo graphic extension language
LESMO CURVA DEL SERRAGLIO
BLUE
VARIANTE ASCARI
RIANTE LLA ROGGIA
CURVA BIASSONO
CURVA PARABOLICA
VARIANTE DEL RETTIFILO
ED
COLOR OF ENERGY, SPEED AND COMPETITIVE ATMOSPHERE
REFERENCE TO EXISTING AUTODROMO DI MONZA BRAND IDENTITY
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4.5.2
typography
# 3851 a 3 C: M: Y: K:
89 % 78% 0% 0%
R: 56 G: 81 B : 1 63
MAIN COLOR PALETTE
MAIN COLOR PALETTE
# 111 02 c C: M: Y: K:
91% 87% 47% 67%
R : 17 G: 16 B : 44
#eb212e C: M: Y: K:
0% 1 00 % 1 00 % 0%
R : 235 G : 33 B: 46
# f 1 f2f2 C: M: Y: K:
0% 0% 0% 5%
R: 241 G: 242 B: 242
VINYL OT REGULAR
TITLES - IMPORTANT TETX SPORT/ SPEED STYLE
TEMPLE OF
SPEED
AA 123
INPUT MONO REGULAR
BODY TEXT TECHNICAL/INNOVATION/LAB STYLE TEMPLE OF Aa SPEED Autodromo di Monza is unique and recognizable around the world. It is known by all automotive fans. Called La Pista Magica . It is recognizable as the fastest track in the world.
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4.5.3
pictograms
STREAMLINE PICTOGRAMS
10
The size of pictograms should be scaled according to the 10x10 modular grid, the sign itself should fit in a 9x9 grid, leaving space to the edges. When more signs appear together on one board, the pictograms are arranged vertically or horizontally and the distance between them is not less than 3 modules.
10
Pictogram setout
10
3
10
3
10
10
10
3
Horizontal alignment
10
3
10
Vertical alignment
247
3
Autodromo Nazionale Monza
USE OF PICTOGRAMS 3
FOOD COURT PICTOGRAMS
Toillets
Toillets
Drinking fountain
Shower
Coffee
Bar
Restaurant
No food
WiFi area
SPA
Cloakroom
Retail area
Parking
No entry
Office
ATM
Swimming Pool
Wastebin
Meeting Point
AR Spot
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general guidelines for wayfinding system
Hierarchy 1
Name of area Services
The general wayfinding guidelines are the assumptions on the basis of which the main characters were designed. The purpose of this guide is to lay down the general principles so that new or redesign existing plaques can be designed from them, consistent with the overall picture of the Autodromo Nazionale Monza. There are three basic types of panels: Signs screens, maps, interactive panels design, and numbers. The layout and level of information differ for each of them, while the colors or the typeface are the same.
Hierarchy 2
4.5.4
FOOD COURT
Hierarchy 3 Amenities
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RESTAURANTS TOILETTS SHOPS
WIFI AREA
Panels types: T01 - Signs Screens M01 - Maps INT01 - Interactive Panels
INFOPOINT
RESTAURANT
2500 Less accessible zone
VINYL OT REGULAR
1800
Readable zone
typeface:
FOOD COURT
Dead zone
Hierarchy 1
TOILETTS RESTAURANTS
Hierarchy 2 typeface: INPUT MONO REGULAR
TRIBUNE 02
MEDIA ROOM
Autodromo Nazionale Monza
249
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4.5.5
wayfinding system 850
ROUTE MAP
TRIBUNE 10
RESTAURANTS TOILETTS SHOPS
Hierarchy 3 Amenities
TRIBUNE 12
Services
Detailed map
TRIBUNE 09
Hierarchy 2
List of tribunes
TRIBUNE 08
FOOD COURT
Directional Sign DS
TYPE:
T01
Route Map MP
TYPE:
M01
WIFI AREA
Area Identification IA
TYPE:
T03
1850
Hierarchy 2
TRIBUNE 03
2550
TRIBUNE 02
Hierarchy 1
TRIBUNE 01
Name of area
850
Hierarchy 2
Name
Hierarchy 1
Services
INFOPOINT FOOD COURT CIRCUIT OFFICE
2850
Hierarchy 1
400
Autodromo Nazionale Monza
251
40
2
Hierarchy 2
450
OFFICE 2
1850
Services
1800
TOILETTS MEDIA ROOM
CIRCUIT OFFICE RESTAURANT PRESS ROOM VIP ROOM Services
Services
2
OFFICE 1 1150
Hierarchy 1
2300
200
100
8
Floor
Hierarchy 2
Hierarchy 1
800
650
Interior wayfinding
WI TYPE: N01
TYPE:
N02
480
INTERIOR DIRECTIONAL
Interior sign DS
TYPE:
T04
Interior wayfinding
WI
TYPE:
N03
In
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150
RESTAURANT
INFO POINT 400
200
450
450
Nowadays Autodromo Nazionale Monza is known to the world audience for the Italian Grand Prix taking place every year bar one since 1950. But the real history starts over 20 years earlier when the circuit was constructed thanks to the Automobile Club of M i l a n . t h i r d purpose-built racing circuit in the world (Brooklands in England 1907, and Indianapolis in America 1909). Currently, it is a big complex with two overlapping tracks,
AR SPOT Nowadays Autodromo Nazionale Monza is known to the world audience for the Italian Grand Prix taking place every year bar one since 1950. But the real history starts over 20 years earlier when the circuit was constructed thanks to the Automobile Club of
1050
1800
nding
N03
900
Nowadays Autodromo Nazionale Monza is known to the world audience for the Italian Grand Prix taking place every year bar one since 1950. But the real history starts over 20 years earlier when the circuit was constructed thanks to the Automobile Club of M i l a n . t h i r d purpose-built racing circuit in the world (Brooklands in England 1907, and Indianapolis in America 1909). Currently, it is a big complex with two overlapping tracks,
Interpretive Panel
IN
TYPE:
INT01
AR SPOT Nowadays Autodromo Nazionale Monza is known to the world audience for the Italian Grand Prix taking place every year bar one since 1950. But the real history starts over 20 years earlier when the circuit was constructed thanks to the Automobile Club of
Augumented Reality Spot AR TYPE: T07
Junction Signs DJ
TYPE:
T08
Autodromo Nazionale Monza
253
1900 G-D
650
C-4 C-4
GATES G-A G-B G-C G-D G-E G-F G-G
G-E
C-5 10 9
C-3
Vedano entrance Mirabello entrance Golf entrance Lesmo entrance Biassono entrance Costa Alta entrance S. Maria alle selve entrance
EVENT CALENDAR 2021
SERRAGLIO
via pa rco
1050
area roccolo area gerascia
C-6 12
viale mirabe
21
5
4
llo
C-7
MEDICAL CENTER
23
PLATFORM
1
26
ata s u
d HOSPITALITY BUILDINGS PIT LANE
CAMPING
viale mirabe
e lev
6
8
22
p ra
PADDOCKS
r va
C-1
19 20
so
18
viale dei box
C-2
p a r a b o li ca
16
15
viale uffici
13
llo
cu
14
25 24
TORRE SUD
G-C
G-B
G-G
1 4 5 6 8 9 10 12 13 14 15 16 18 19 20 21 22 23 24 25 26
Centrale Laterale Sinistra Piscina Alta Velocita Prima Variante Esterna Seconda Variante Roggia Ascari Tre Ascari Due Tribuna Amici Autodromo Ascari Uno Ascari Uscita Ascari A Uscita Ascari B Museo Lateralle Parabolica Parabolica Parabolica Interna Vedano Con accesso per disabili Laterale Destra
1050
TRIBUNES
G-F
TEMPLE OF
SPEED
TORRE SUD
viale per biasson
o
G-A
Orientation Map DK
TYPE:
M02
Interactive Panel DK
TYPE:
INT02
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4.5.6
editorial materials
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4.5.7
corporate materials
Autodromo Nazionale Monza
257
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Autodromo Nazionale Monza
259
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4.5.8
possible extension
Autodromo Nazionale Monza
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Figure 4.3 Juan Manuel Fangio at Monza 1949
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DIGITAL AND TECHNOLOGICAL SUPPORT
4.6
layer 05
Layer 5, the technological layer, is the supporting layer and connects all the previous ones. Due to the fact that the strategy mainly provides solutions in the long-wave context, traditional wayfinding and signage may not fulfill their role in the exceptional, crisis, or special events. To support management, including the fastest and accurate branding adjustment, you can use technological value. According to the latest research by the Gensler Institute, the use of technology, starting with connected tools, automated systems, sensors, or connecting directly to the user through smart technologies, affects the provision of better service and operation of the institutions themselves. It makes the final product and the path of experiencing it more personalized, responsive, and thus effective.
Starting from entering the premises through the Checkpoint Gate, which is equipped with sensors of Ultima AI and the VCARE system, which allows you to monitor visitors in real-time, and therefore monitor where the queues are formed. Due to various situations, such as changing regulations in connection with the COVID pandemic, it is easier
to manage the movement of people. This is a big support for temporary signs that are used to warn of distance or hand disinfection. In addition to management, the system also supports future solutions and provides data on the user customer journey. Similar systems were also used in 2017 by the Formula 1 Innovation Team to improve
Figure 4.4 Ultima AI accurancy diagram via V-Count
the customer journey and research new ways of improving the experience. The system is installed at the main entrances, in the so-called checkpoints - which attract visitors’ attention and encourage them to pass. Another solution is to manage, access, and update all screens in digital kiosks and interpretive panels from one point. Thanks to systems such as The Papercast, you can easily update information boards, display important messages, change event advertisements or adapt screens to a specific event on the track with one program. If the devices in special situations are offline (due to a power failure or a fault), you can set a permanent displayed graphics or information. This also applies to digital totems that are used to broadcast races or shows, for example, live interviews with drivers.
The sensors installed in the gate are resistant to weather conditions and are mounted at a height of 4m, which gives a detection range of up to 8m. What’s important it is possible to exclude staff from visitors’ overall traffic data.
Figure 4.5 Papercast managing system via Papercast
Intelligent systems can also be used in the management of such elements as litter bins, which facilitate operation on such a large area. Not every place is frequented the same and not all need cleaning with the same regularity. Senseo sensors installed in baskets, both public and industrial, ensure cleaning optimization according to real needs. Figure 4.6 Sensoneo sensor for waste monitoring via Senseneo
Technology has an impact not only on the support of intelligent management but also is a huge part of the entertainment. In addition to interactive screens displaying information and enabling you to find more detailed content, I propose
larger scale “screens” that allow you to display advertising spots, broadcasts from races, or displaying fixed images changing depending on the type of event on selected facades of buildings. The screens, in addition to having a
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decorative function, inspire dynamism on the facade, transform locations into high-class venues for media experience, enliven the events taking place at the Autodromo Nazionale Monza and allow for a visible change of the facade without changing materials or additional elements. Made of stainless steel mesh on which rows of energy-saving LEDs in a special transparent structure are suspended, the facade remains visible when the system is off, without changing the structure of the building. The Mediamesh system is adapted to all weather conditions, so the media can be displayed in the evening and during the day while maintaining sharpness, brightness, and details of the image. Figure 4.7 Detail of Mediamesh by GKD Metal Fabrics
Figure 4.8 Mediamesh by GKD Metal Fabrics
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THE VISUAL AND ARCHITECTURAL GUIDE FOR AUTODROMO NAZIONALE MONZA
4.7
archiguide
Multiscape: New Design Strategy
4.7.1
scapes scenarios
In accordance with the customer journey analysis, I design an intervention map, on which I will show new possibilities and newly created areas that have been enriched with new or highlighted existing functions. Each of them uses branding elements from all five layers, interpenetrating and complementing each other. Starting from the main entrance, which is a form of linking the park with the Autodromo Nazionale
Monza, by enriching the paths between the destinations, to the interior of the buildings all the way to the exterior locations. The diagrams below show the diversity of the participation of given layers in creating a given zone based on the Branding Structure chart and the variables that characterize a given element.
HOW THE VARIABLES CHANGE DEPENDING ON THE FUNCTION OF THE PLACE?
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references 5.1
books
ADAMS, S. (2021). How design makes us think: and feel and do things, p.6 AGNEW, J. A., & DUNCAN, J. S. (1989). The Power of place: bringing together geographical and sociological imaginations. Boston, Unwin Hyman ANHOLT, S. (2004) Nation-brands and the value of provenance. In: MORGAN, N., PRITCHARD, A., & PRIDE, R. (2015). Destination branding: creating the unique destination proposition, p.34 ANHOLT, S. (2014). Places: identity, image and reputation. [Place of publication not identified], Palgrave Macmillan, pp. 38-47 AUGÉ, M. (2008). Non-places: [an introduction to supermodernity]. London, Verso. AUSTIN, T. (2020). Narrative environments and experience design space as a medium of communication. BENZ, P. (2020). Experience design: concepts and case studies. BILLING, P., & O’DELL, T. (2010). Experiencescapes: tourism, culture and economy. Copenhagen : Copenhagen Business School Press, p.16 BLACK, A., LUNA, P., LUND, O., & WALKER, S. (2017). Information design: research and practice. CALORI, C. (2015). Signage and wayfinding design: a complete guide to creating environmental graphic design systems. John Wiley & Sons Inc. CARMI, E. (2011). Branding: una visione design oriented. Progettare la Marca: la strategia, il metodo, il linguaggio. Dalle origini al modello di Marca Carmi e Ubertis 0.9. Bologna, Logo Fausto Lupetti. FOROUDI, P., & PALAZZO, M. (2020). Contemporary issues in branding. GOVERS, R. (2014). Place branding: glocal, virtual and physical identities, constructed, imagined and experienced. [Place of publication not identified], Palgrave Macmillan, p.255 HARLAND, R. (2020). Graphic design in urban environments.
HISS, T. (1991). The experience of place. A New Way of Looking at and Dealing With our Radically Changing Cities and Countryside. New York, Vintage Books, p.15 In: SONNENBURG, S., & BAKER, L. (2013). Branded Spaces Experience Enactments and Entanglements. Wiesbaden, Springer Fachmedien Wiesbaden, Imprint: Springer VS. KLINGMANN, A. (2010). Brandscapes architecture in the experience economy. Cambridge, Mass, MIT Press. KOLB, M. J. (2021). MAKING SENSE OF MONUMENTS: narratives of time, movement, and scale. [S.l.], ROUTLEDGE, p.10 LAUBE, A., & WIDRIG, M. (2016). Archigraphy Lettering on Buildings. Basel/Berlin/Boston Birkhäuser. LEWIS, K. (2015). Graphic design for architects: a manual for visual communication. LURY, C. (2011). Brands: the logos of the global economy. London, Routledge. MATTIONI, R., VALLI, C. E., & BONOMI, A. (2011). L’importanza di chiamarsi brand: quanto valgono la Scala e l’autodromo di Monza, il design e la moda? Milano, Guerini e associati, pp.110-121 MIKUNDA, C. (2008). Brand lands, hot spots & cool spaces: welcome to the third place and the total marketing experience. London, Kogan Page, p.3 MITCHELL, W. J. T. (2009). Landscape and power. Chicago, Ill, Univ. of Chicago Press. NEUMEIER, M. (2016). The brand flip why customers now run companies--and how to profit from it. Berkeley: Peachpit, p.4 PAGE, S. J., Hall, M. C., Geography and the study of events In: PAGE, S. J., & CONNELL, J. (2020). The Routledge handbook of events. PALLASMAA, J. Space, Place, and Atmosphere: Peripheral Perception in Existential Experience In: BHME, G., ELIASSON, O., PALLASMAA, J., & BORCH, C. (2014). Architectural atmospheres on the experience and politics of architecture. PINE, B. J., & GILMOUR, J. H. (2007). The experience economy: work is theatre & every business a stage. Boston, Mass, Harvard Business School Press, p.171 PORTER, N. (2017). Landscape and branding: the promotion and production of place. Oxfordshire: Routledge. POULIN, R. (2012). Graphic design and architecture, a 20th century history: a guide to type, image, symbol, and visual storytelling in the modern world. POULIN, R. (2017). Archigraphia Redux. New York, USA, Graphis, U. S., Incorporated ROGER W. CAVES. (n.d.). Encyclopedia Of The City, p.590
SONNENBURG, S., & BAKER, L. (2013). Branded Spaces Experience Enactments and Entanglements. Wiesbaden, Springer Fachmedien Wiesbaden, Imprint: Springer VS. STICKDORN, M. (2018). This Is Service Design Doing: Using Research and Customer Journey Maps to Create Successful Services. O’Reilly Media, Incorporated. The National Association of City Transportation Officials. (2013) Urban Street Design Guide. Island Press TUAN, Y.-F. (2018). Space and place: the perspective of experience. UFFELEN, C. V. (2013). Urban spaces plazas, squares & streetscapes. Braun Publishing AG VERMULEN, M. The Netherlands, Holiday Country. In: M. PATTEEUW, V. (2002). City branding: image building & building images. Rotterdam, NAi. WHEELER, A. (2018). Designing brand identity an essential guide for the whole branding team. Hoboken, New Jersey Wiley ZEVI, B. (1974). Architecture as space: how to look at architecture. New York, Horizon Press, p.59-60
5.2
journal articles
BMW FORMULA ONE TEAM. (2008). Materials in the BMW Sauber Formula One Race Car. ADVANCED MATERIALS AND PROCESSES. 166, 59-62. CHAKRABARTI, A., & CHAKRABARTI, D. (2017). Research into Design for Communities, Volume 1: Proceedings of ICoRD 2017. Singapore, Springer Singapore, p.187. https://doi. org/10.1007/978-981-10-3518-0 GENSLER. (2021). Reconnect. Design Strategies for Post-Covid world, Design Forecast 2021. Gensler Research Institute HALL, C.M. (2008). Servicescapes, Designscapes, Branding, and The Creation of Place Identity: South of Litchfield, Christchurch. Journal of Travel & Tourism Marketing, 25:3-4, 233-250, DOI: 10.1080/10548400802508101 KAVARATZIS, M. (2008) ‘From city marketing to city branding: An interdisciplinary analysis with reference to Amsterdam, Budapest and Athens’, Doctor of Philosophy, Rijksuniversiteit Groningen, [S.l.]., p.46 LEE, K., CHUNG, K.-W., & NAM, K.-Y. (2013). Orchestrating Designable Touchpoints for Service Businesses. Design Management Review. 24, 14-21, DOI:10.1111/drev.10246
MEI, X. Y., HÅGENSEN, A.-M. S., & KRISTIANSEN, H. S. (2020). Storytelling through experiencescape: Creating unique stories and extraordinary experiences in farm tourism. Tourism and Hospitality Research. 20, p.93 MOORE, K., REID, S. (2008). The birth of brand: 4000 Years of Branding History. Business History, 4(4), DOI:10.1080/00076790802106299 REN, C., & BLICHFELDT, B. S. (2011). One Clear Image? Challenging Simplicity in Place Branding. Scandinavian Journal of Hospitality and Tourism. 11, 416-434, p.4-9 RUMIŃSKA, A. (2016). Ławkologia Wrocławia. Przestrzeń Publiczna Wrocławia. 171-188. Oficyna Wydawnicza Politechniki Wrocławskiej Rybicka, E. (2015) Landscape. A Brief Introduction. Herito, 19-20 Rybicka, E. (2019). Questionnaire - Answer. Polish Journal of Landscape Studies, 1(1), 139141. https://doi.org/10.14746/pls.2018.1.19 Three-Dimensional Branding. Using Space as a Medium for the Message. (2007) Herman Miller
5.3
thesis
PARSONS, A. (2011) ‘Uncovering the hidden complexities in the wayfinding user experience: Development of explanatory models.’ Graduate Theses and Dissertations, Iowa State University. Toth, M.J. (2015) ‘Branding and Experience in Architecture’, MA thesis, Univeristy of Cincinnati
5.4
webinars
Neubert,H., Herr, N., Barry,S., Latimer,S., Reese, B. & Tyson, R. (2021). Digital Experiences: Design Strategies for a post-covid world, The Gensler Research Institute. <https://www. gensler.com/webinar-digital-experience-design-strategies-post-covid#download> Turner, R., Emmett, J., Jacobs, A., Chung, S., Paterson, D. (2021). Sports: Design Strategies for a post-covid world, The Gensler Research Institute. <https://www.gensler.com/webinarsports-design-strategies-post-covid>
5.5
presentations
Applied Information Group. (2020). ‘COVID-19 Design Toolkit v1.0: The definitive system for social distancing for government, public and private sector organisations responsible for high-traffic spaces.’ BrandTrust. (2015). ‘Vom Produkt zum Erlebnis: Wie man aus einzelnen Markenkontaktpunkten ein Gesamterlebnis schafft (From product to experience: How to turn individual brand touchpoints into a total experience)’, SlideShare presentation, viewed 2 Septembre 2021, <https://www.slideshare.net/Brand_Trust/vom-produkt-zum-erlebnis-die-grte-studiezum-brand-touchpoint-management> Designit (2016). ‘Beyond brand as a buzzword, what’s branding all about?’, SlideShare presentation, viewed 15 July 2021, <https://www.slideshare.net/designit/beyond-brandas-a-buzzword-whats-branding-all-about>.
5.6
websites
Andol, R., Virtual Depictions: San Francisco, viewed 15 September 2021, <https://refikanadol. com/works/virtual-depictions-san-francisco/> Autodromo Nazionale di Monza Monza Circuit, Wikipedia, viewed 10 July 2021, <https:// en.wikipedia.org/wiki/Autodromo_Nazionale_di_Monza> Barlich Wonder Studio (2018), F1 Milan Festival 2018, viewed 15 September 2021 < https://www.balichwonderstudio.com/brand-experiences/brand-events/f1-milanfestival-2018/> Bixler, A., Murphy, M., Wittnebel,J., Cortes, J. (2020). Tips for Signage and Wayfinding in a Post-COVID-19 World, Genler Research and Insight, viewed 10 September 2021, https:// www.gensler.com/blog/tips-for-signage-and-wayfinding-in-a-post-covid-19-world Byrne, E., (2014), Radiant Discord: Lance Wyman on the ’68 Olympic Design and the Tlatelolco Massacre, Walker, viewed 8 June 2021, < https://walkerart.org/magazine/lancewyman-mexico-68-olympics-tlatelolco-massacre> Cantor, M. Aviva. (2019) A brief history of branding , 99designs, viewed 14 July 2021, <https://99designs.com/blog/design-history-movements/history-of-branding/> Circuit History, Web Archive, viewed 10 July 2021, <https://web.archive.org/ web/20161011131936/https://www.monzanet.it/en/autodromo/history/> Circuit of The Americas / Miró Rivera Architects (2013) ArchDaily, viewed 7 June 2021. <https://www.archdaily.com/393450/circuit-of-the-americas-miro-rivera-architects>
Collins M.J., 2015. Building a B2B Experience Brand Across All Marketing Touchpoints, Linkedin, viewed 7 July 2021, < https://www.linkedin.com/pulse/building-b2b-experiencebrand-across-all-marketing-michael-collins> Dare, T., (2018), ‘Memorable’ 1968 Olympic logo used lines as power, Global Sport Matters, viewed 8 June, < https://globalsportmatters.com/1968-mexico-city-olympics/2018/10/04/ memorable-1968-olympic-logo-used-lines-as-power/> Environmental psychology, (2019), Wikipedia, Wikimedia Foundation, viewed 4 July 2021, < https://en.wikipedia.org/wiki/Environmental_psychology> Haigh D., 2004. Brand Valuation: What It Means and Why It Matters, Brand Finance, viewed 7 July 2021, < https://brandfinance.com/insights/brand-valuation-what-it-means-andwhy-it-matters> Hatton, G., How are composite used in motorsport?, Racecar engineering, viewed 15 October 2021,<https://www.racecar-engineering.com/tech-explained/how-are-composites-usedin-motorsport/> Herbez, V., 2015, History of Autodromo di Monza, Snaplap, viewed 10 July 2021, <https:// www.snaplap.net/monza-circuit/> Holland, T. (2017). What is Brandin? A brief history, Skyword, viewed 14 July 2021, <https:// www.skyword.com/contentstandard/branding-brief-history/> Humphreys, J., (2017), Aristotle got it wrong: We have a lot more than five senses, The Irish Times, viewed 9 June 2021, <https://www.irishtimes.com/profile/joehumphreys-7.1010739> La storia del parco, Reggia di Monza, viewed 12 July 2021, <https://www.reggiadimonza.it/ it/content/page/parco> List of Formula One Circuits, Wikipedia, viewed 13 July 2021, <https://en.wikipedia.org/wiki/ List_of_Formula_One_circuits> Moore, R., (2017) The Bilbao effect: how Frank Gehry’s Guggenheim started a global craze, The Observer, viewed 11 July 2021, <https://www.theguardian.com/artanddesign/2017/ oct/01/bilbao-effect-frank-gehry-guggenheim-global-craze> Neubert, H., (2020), The transformation of the Built Environment Requires a Digital Mindset, Gensler Research & Insight, viewed 12 September 2021, < https://www.gensler.com/blog/ the-transformation-of-the-built-environment-digital-mindset> Ogus, S., (2018), Formula 1 Annoucnes Launch of Fully Immersive 360 – Degree Virtual Reality App, Forbes, viewed 10 September 2021, < https://www.forbes.com/sites/ simonogus/2018/12/04/formula-1-announces-launch-of-fully-immersive-360-degreevr-app/> Ramon Llull Institute, Grafting Architecture. Wayfinding. (n.d), Bildi, viewed 12 September 2021, https://www.bildi.net/project/3
Superkilen / Topotek 1 + BIG Architects + Superflex (2012), ArchDaily. Viewed 7 June 2021, <https://www.archdaily.com/286223/superkilen-topotek-1-big-architects-superflex> The big interview: Matt Roberts, Director of Research & Analytics, Formula 1, (2020), Sports Venue Business, viewed 9 October 2021, https://sportsvenuebusiness.com/2020/04/24/ the-big-interview-matt-roberts-director-of-research-analytics-formula-1/ Venkatraman, A., (2021), Sculpting Data: Why it’s important, and how to start making your own, Toward Data Sciences, viewed 12 September 2021, < https://towardsdatascience. com/sculpting-data-eb8b2b3d8f87>