tp3 image, branding and cultural heritage part1

TRAINING PACKAGE 3 - Image, Branding and Cultural Heritage

Module 1: Traditions and Cultural Heritage for Brand Identity, Contemporary Design and Product Development

Marco BravoMichele Gasparoli

"DE-SME - Intelligent Furniture - Training for Design, Environment and New Materials in SMEs"Agreement n. 2009 - 2196 / 001 – 001

www.IntelligentFurniture.eu

© 2012, not for publication, only for use in direct relation to the project

06/03/12 Intelligent Furniture – TP3: Image, Branding and Cultural Heritage 2

Cultural Heritage:

Cultural heritage is not limited to material manifestations, such

as monuments and objects that have been preserved over

time; it also encompasses living expressions and the

traditions that countless groups and communities worldwide

have inherited from their ancestors and transmit to their

descendants.


Cultural Heritage, from knowledge to product, through context

“The “intangible cultural heritage” means the practices,

representations, expressions, knowledge, skills – as well as

the instruments, objects, artefacts and cultural spaces

associated therewith – that communities, groups and, in some

cases, individuals recognize as part of their cultural heritage.”

UNESCO

Convention for the safeguarding of the intangible cultural heritage

Paris 2003

TP3-Image, Branding and Cultural Heritage


TERRITORIAL HERITAGEIS THE SUM OF EXPERIENCES, AND HISTORICAL

EVIDENCE OF CREATIVITY IN A GIVEN TERRITORY


TERRITORIAL HERITAGE ARE ALSO THE SKILLS OF ARTISANAL PRODUCTION , DIFFERENT TECHNIQUES

THAT CHARACTERIZE DIFFERENT PRODUCTION AREAS.

THESE INTANGIBLE PHENOMENA SHOULD BE KEPT AND PRESERVED AS TANGIBLE ASSETS.


Tradition and Innovation / The new role of crafts

Traditions of a productive community are inspiration to new

products development, and to build stronger corporate identity.

for BRAND IDENTITY

for PRODUCT IDENTITY

for PRODUCT DEVELOPMENT



IS A NEW ITALIAN DESIGN BRAND, STRONGLY ROOTED IN HIS TERRITORY, THE TOSCANA.NOVO’S NAMING, BRAND, AND CORPORATE IMAGE ARE BASED ON THE FASHINATING TOSCANA COUNTRYSIDE, INSPIRING A COHERENT MOOD.

BRAND IDENTITY

NOVO


IS A PLASTIC CONTEMPORARY LAMP, BUT HIS SHAPE IS INSPIRED TO A TYPICAL BAROQUE STYLE LAMP.

PRODUCT IDENTITY

BOURGIE


CREAZIONI WORKS ON HANDCRAFTED FURNITURE, WITH TRADITIONAL SHAPES, RE-ELABORATED WITH CONTEPORARY COLORS AND DECORATIONS

PRODUCT DEVELOPMENT

CREAZIONI


THE SEED OF THE OAK TREE, SYMBOL OF CANADA,IS CALLED ‘SAMARA’

CASE STUDY

SAMARE


SAMARE

a collective of 4 designers based in Montreal takes their name from the oak seed. They see themselves as ‘cultivators’, dedicated to developing new directions for Canadian Design and leaving behind iconographic clichés in favour of a new style. They view design as an instrument of innovation, firmly rooted in its place of origin but with a unique ability to transfer and inseminate cultural ideas further afield.


An example of this approach is seen in their chaise longue which revisits the shape of a traditional Canadian sled. In this way, SAMARE transform traditional Canadian cultural elements into examples of contemporary furniture.


The first collection designed by SAMARE takes its starting point from a world in the native Canadian language Awadare: the babiche. The interwoven viscera typically used to make snow shoes is intermixed for the first time with structures crafted in steel.


The babiche take their name from the French adaptation of the word sisibabiche, a word from the native American dialect meaning ‘petit-corde’ or ‘little rope’. For hundreds of years this technique was used in transportation and in numerous facets of daily life; a great help for those travellers face to face with Canada’s extreme climactic conditions.


By using this technique SAMARE not only create an exclusive and unique collectionof contemporary design pieces, but also take a key role in safeguarding a time honored tradition in danger of extinction.


DESIGN CREATE NEW MEANINGS, OBJECTS TELL THE THEIR HISTORY AND THEIR OWN WORLD.THE CONSUMER BUY MORE THAN ONE OBJECT,HE BUY AN EXPERIENCE.


Experience is a subjective event,felt only by the person who has the experienceExperience is ephemeral,i.e., lasting only for the momentExperiences not yet lived or feltare called dreams Experiencing is the point wherememory and imagination meet

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There is no such thing as experience design.

You can’t design experience because experiencing is in people.You can design for experiencing, however.You can design the scaffolding or infrastructure that people can use to create their own experiences. People are creative.

WHAT IS EXPERIENCE DESIGN?


The first step in learning to design for experiencing is to take a new attitude about the people who buy and use the products and services you are designing. This attitude is to respect their opinions and to respect their innate creativity.

HOW DO YOU DESIGN FOR EXPERIENCING?

1


Exploring what people do, what they say and what they make, in relation to a new project, we should able to understand the experience domains of the ordinary people we are serving.

2

HOW DO YOU DESIGN FOR EXPERIENCING?


The participatory attitude and the new tools for design research are beginning to change the shape of the design profession and design education.

They demonstrate that ordinary peoplecan succesfully contribute to the design development process at its very beginning.


In the global market, a project becomes more valuable when is ableto communicate its culturaland geographic roots,and when it is testimonial of a story.


IS YOUR BRAND, AND IT’S GOODS, REPRESENTATIVE OF THE CULTURAL AND TERRITORIAL HERITAGE OF THE

AREA IN WHICH IT IS LOCATED?

BRANDING E STORYTELLING


A name, term, sign, symbol or design,ora combination of them,intendedto identify the goods or services of one seller from those of competitors American Marketing Association

What is a Brand?

A BRAND is a collection of actual and emotional characteristics associated with the particularly identified product or service and differentiates that product of service from the rest of the marketplaceKeegan, Moriarty, Duncan & Paliwoda, 1995, Marketing, Canadian Edition, Prentice Hall.

BRAND NAME

BRAND IMAGE


BRAND IDENTITY is the product of ALL the mental representation and concepts associated to the brand,this imaginary creates the conditions to builda trustworthy capital: the BRAND EQUITY.

From Identity to Equity


LOGO IDENTITYIMAGE



A strong brand integrates multiple components:

Brand isn’t about your Logo, tagline and glossy brochure.

CUSTOMER INTERACTIONS

EMPLOYEE COMMUNICATIONS

CORPORATE PHILOSOPHY

ADVERTISING/MARKETING EFFORTS



CONFIRMS YOUR CREDIBILITY

CONNECTS YOUR TARGET

PROSPECTS EMOTIONALLY

MOTIVATES THE BUYER

CONCRETES USER LOYALTY

The objectives that a good brand will achieve include:



To succeed in branding you must understand the needs and wants of your customers and prospects. You do this by integrating your brand strategies through your company at every point of public contact.Your brand resides within the hearts and minds of customers, clients, and prospects. It is the sum total of their experiences and perceptions, some of which you can influence, and some that you cannot.

YOUR BRAND IS THE SOURCE OF A PROMISE TO YOUR CONSUMER

How to succeed in branding



Branding will not be successful without ensuring that all aspects of your business reflect and support your intended brand.

Brand goes beyond marketing

Imagine you are about to embark on a trip of a lifetime. You’ve received brochures for a luxury resort. The rooms are lavish; the grounds impeccable. Photos of the restaurant’s signature dishes look delectable. You’re sold.You go to the hotel. The room is musty and a tad dirty. The food is barely passable. Service is brusque and spotty at best. When you complain to management, you’re met with indifference, or worse, silence. You leave disillusioned and disgusted. For all the resort’s slick marketing, they’ve fallen woefully short.



By defining who your brand is you create the foundation for all other components to build on. Your brand definition will serve as your measuring stick in evaluating any and all marketing materials and strategies.

You will begin this process by answering some questions

How To Define Your Brand

howtodefineyoyrbrand.pdf



Your brand is the sum of total of all the meanings that all your possible audiences carry around about you in their heads and in their hearts

Brand Image: Brand is about meanings

SPORT

DESIGN

FASHION

QUALITY

CHILD WORK

EXPENSE

HIP HOP CULTURE

MEANS

brandandmeaning.pdf



Purpose: the motivation behind what we do.What’s your brand purpose?

Elements of purpose:

Brand purpose

AMBITION AND DESIRE

TALENT

RATIONAL INTENT

VALUES

CONTEXT

CREATION & IMMAGINATION

NARRATIVE

RESOURCES



We respond to the best brands because they capture some aspect of our humanity and relect it back to us.

Look at your motivations, they will influence heavily what you do with and to your brand

AMBITION AND DESIRE

+

RATIONAL INTENT

=

BRAND STRATEGY



Two main categories:

1. Something you are already skilled at, or something you can learn to do yourself cost-effectively enough to make it appropriate for you to be be spending tim doing it.

2. Something that you’ll either ind really challenging or even impossible to learn to do well, or that will take you lot of time to learn and continue to do that you’d better off paying someone else to do it.

talent.pdf

TALENTDo not overstimate, do not underestimate, recognize and develop it.



Starts in 1700 From countryside to artisanal workshop.

Custom design for exhigent clients, french influence.

High specialization (in-house built machinaries)

1860 First school of training for artisan

Synergy between designer and architects -1820: the export

Creativity and innovation, care of details and elegance, the good as a sinle piece of art

Design - Style boom: 1950 – 1960 – 1970

BRIANZA WOODEN FURNITURE DISTRICT


Intelligent Furniture – TP3: Image, Branding and Cultural Heritage 4606/03/12

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This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

tp3 image, branding and cultural heritage part1

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