TRAINING PACKAGE 3- Image, Branding and Cultural HeritageModule 1: Traditions and Cultural Heritage for Brand Identity, Co...
Cultural Heritage:     Cultural heritage is not limited to material manifestations, such     as monuments and objects that...
TP3-Image, Branding and Cultural Heritage      Cultural Heritage, from knowledge to product, through context       “The “i...
TERRITORIAL HERITAGE        IS 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 DIFFE...
TP3-Image, Branding and Cultural Heritage      Tradition and Innovation / The new role of crafts       Traditions of a pro...
BRAND IDENTITY      NOVO      IS A NEW ITALIAN DESIGN BRAND, STRONGLY ROOTED      IN HIS TERRITORY, THE TOSCANA.      NOVO...
Intelligent Furniture – TP3: Image,06/03/12     Branding and Cultural Heritage                                            ...
TP3-Image, Branding and Cultural Heritage                          Intelligent Furniture – TP3: Image,06/03/12            ...
PRODUCT IDENTITY      BOURGIE      IS A PLASTIC CONTEMPORARY LAMP, BUT HIS SHAPE IS      INSPIRED TO A TYPICAL BAROQUE STY...
Intelligent Furniture – TP3: Image,06/03/12     Branding and Cultural Heritage                                            ...
PRODUCT DEVELOPMENT      CREAZIONI      CREAZIONI WORKS ON HANDCRAFTED FURNITURE,      WITH TRADITIONAL SHAPES, RE-ELABORA...
Intelligent Furniture – TP3: Image,06/03/12     Branding and Cultural Heritage                                            ...
Intelligent Furniture – TP3: Image,06/03/12     Branding and Cultural Heritage                                            ...
CASE STUDY      SAMARE      THE SEED OF THE OAK TREE, SYMBOL OF CANADA,      IS CALLED ‘SAMARA’                     Intell...
SAMARE                                    a collective of 4 designers based in Montreal                                   ...
An example of this approach is seen in their                                    chaise longue which revisits the shape of ...
The first collection designed by SAMARE                                    takes its starting point from a world in the   ...
The babiche take their name from the French                                     adaptation of the word sisibabiche, a word...
By using this technique SAMARE not only                                    create an exclusive and unique collection      ...
DESIGN CREATE NEW MEANINGS, OBJECTS TELL THE      THEIR HISTORY AND THEIR OWN WORLD.THE      CONSUMER BUY MORE THAN ONE OB...
Experience is a subjective event,                        felt only by the person who has the                        experi...
WHAT IS EXPERIENCE DESIGN?There is no such thing as experience design.You can’t design experience becauseexperiencing is i...
HOW DO YOU DESIGN FOR EXPERIENCING?1The first step in learning to design forexperiencing is to take a new attitude about t...
HOW DO YOU DESIGN FOR EXPERIENCING?2Exploring what people do, what they say andwhat they make, in relation to a new projec...
The participatory attitude and the new toolsfor design research are beginning to changethe shape of the design profession ...
In the global market, a project                   becomes more valuable when is able                   to communicate its ...
BRANDING E STORYTELLING       IS YOUR BRAND, AND IT’S GOODS, REPRESENTATIVE OF        THE CULTURAL AND TERRITORIAL HERITAG...
What is a Brand?BRAND NAME    A name, term, sign, symbol or design,ora combination of              them,intendedto identif...
From Identity to Equity     BRAND IDENTITY is the product of ALL the mental     representation and concepts associated to ...
TP3-Image, Branding and Cultural Heritage    LOGO                       IMAGE                            IDENTITY         ...
TP3-Image, Branding and Cultural Heritage                          Intelligent Furniture – TP3: Image,06/03/12            ...
TP3-Image, Branding and Cultural Heritage       Brand isn’t about your Logo, tagline and glossy brochure.       A strong b...
TP3-Image, Branding and Cultural Heritage       The objectives that a good brand will achieve include:       CONFIRMS YOUR...
TP3-Image, Branding and Cultural Heritage                          Intelligent Furniture – TP3: Image,06/03/12            ...
TP3-Image, Branding and Cultural Heritage       How to succeed in branding       To succeed in branding you must understan...
TP3-Image, Branding and Cultural Heritage              Brand goes beyond marketingImagine you are about to embark on a tri...
TP3-Image, Branding and Cultural Heritage                          Intelligent Furniture – TP3: Image,06/03/12            ...
TP3-Image, Branding and Cultural Heritage                          Intelligent Furniture – TP3: Image,06/03/12            ...
TP3-Image, Branding and Cultural Heritage       How To Define Your Brand       By defining who your brand is you create th...
TP3-Image, Branding and Cultural Heritage       Brand Image: Brand is about meanings       Your brand is the sum of total ...
TP3-Image, Branding and Cultural Heritage      Brand purpose      Purpose: the motivation behind what we do.      What’s y...
TP3-Image, Branding and Cultural Heritage       AMBITION AND DESIRE       We respond to the best brands because they captu...
TP3-Image, Branding and Cultural Heritage       TALENT       Do not overstimate, do not underestimate, recognize and devel...
TP3-Image, Branding and Cultural Heritage       BRIANZA WOODEN FURNITURE DISTRICT       Starts in 1700 From countryside to...
Intelligent Furniture – TP3: Image,06/03/12     Branding and Cultural Heritage                                            ...
This project has been funded with support from the European   Commission. This publication reflects the views only of the ...
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Tp3 Image, Branding and Cultural Heritage part1

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Tp3 Image, Branding and Cultural Heritage part1

  1. 1. TRAINING PACKAGE 3- Image, Branding and Cultural HeritageModule 1: Traditions and Cultural Heritage for Brand Identity, Contemporary Design andProduct DevelopmentMarco 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
  2. 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. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 2
  3. 3. TP3-Image, Branding and Cultural Heritage 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 Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 3
  4. 4. TERRITORIAL HERITAGE IS THE SUM OF EXPERIENCES, AND HISTORICAL EVIDENCE OF CREATIVITY IN A GIVEN TERRITORY Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 4
  5. 5. 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. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 5
  6. 6. TP3-Image, Branding and Cultural Heritage 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 Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 6
  7. 7. BRAND IDENTITY NOVO 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. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 7
  8. 8. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 8
  9. 9. TP3-Image, Branding and Cultural Heritage Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 9
  10. 10. PRODUCT IDENTITY BOURGIE IS A PLASTIC CONTEMPORARY LAMP, BUT HIS SHAPE IS INSPIRED TO A TYPICAL BAROQUE STYLE LAMP. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 10
  11. 11. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 11
  12. 12. PRODUCT DEVELOPMENT CREAZIONI CREAZIONI WORKS ON HANDCRAFTED FURNITURE, WITH TRADITIONAL SHAPES, RE-ELABORATED WITH CONTEPORARY COLORS AND DECORATIONS Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 12
  13. 13. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 13
  14. 14. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 14
  15. 15. CASE STUDY SAMARE THE SEED OF THE OAK TREE, SYMBOL OF CANADA, IS CALLED ‘SAMARA’ Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 15
  16. 16. 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. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 16
  17. 17. 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. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 17
  18. 18. 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. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 18
  19. 19. 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. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 19
  20. 20. By using this technique SAMARE not only create an exclusive and unique collection of contemporary design pieces, but also take a key role in safeguarding a time honored tradition in danger of extinction. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 20
  21. 21. DESIGN CREATE NEW MEANINGS, OBJECTS TELL THE THEIR HISTORY AND THEIR OWN WORLD.THE CONSUMER BUY MORE THAN ONE OBJECT, HE BUY AN EXPERIENCE. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 21
  22. 22. 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 felt are called dreams Experiencing is the point where memory and imagination meet 22 Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 22
  23. 23. WHAT IS EXPERIENCE DESIGN?There is no such thing as experience design.You can’t design experience becauseexperiencing is in people.You can design for experiencing,however.You can design the scaffolding orinfrastructure that people can use to create theirown experiences. People are creative. Intelligent Furniture – TP3: Image, 06/03/12 Branding and Cultural Heritage 23
  24. 24. HOW DO YOU DESIGN FOR EXPERIENCING?1The first step in learning to design forexperiencing is to take a new attitude about thepeople who buy and use the products andservices you are designing. This attitude is torespect their opinions and to respect their innatecreativity. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 24
  25. 25. HOW DO YOU DESIGN FOR EXPERIENCING?2Exploring what people do, what they say andwhat they make, in relation to a new project, weshould able to understand the experiencedomains of the ordinary people we are serving. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 25
  26. 26. The participatory attitude and the new toolsfor design research are beginning to changethe shape of the design profession anddesign education.They demonstrate that ordinary peoplecan succesfully contribute to the designdevelopment process at its very beginning. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 26
  27. 27. In the global market, a project becomes more valuable when is able to communicate its cultural and geographic roots, and when it is testimonial of a story. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 27
  28. 28. BRANDING E STORYTELLING IS YOUR BRAND, AND IT’S GOODS, REPRESENTATIVE OF THE CULTURAL AND TERRITORIAL HERITAGE OF THE AREA IN WHICH IT IS LOCATED? Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 28
  29. 29. What is a Brand?BRAND NAME 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 AssociationBRAND IMAGE 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. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 29
  30. 30. From Identity to Equity BRAND IDENTITY is the product of ALL the mental representation and concepts associated to the brand, this imaginary creates the conditions to build a trustworthy capital: the BRAND EQUITY. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 30
  31. 31. TP3-Image, Branding and Cultural Heritage LOGO IMAGE IDENTITY Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 31
  32. 32. TP3-Image, Branding and Cultural Heritage Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 32
  33. 33. TP3-Image, Branding and Cultural Heritage Brand isn’t about your Logo, tagline and glossy brochure. A strong brand integrates multiple components: CUSTOMER INTERACTIONS EMPLOYEE COMMUNICATIONS CORPORATE PHILOSOPHY ADVERTISING/MARKETING EFFORTS Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 33
  34. 34. TP3-Image, Branding and Cultural Heritage The objectives that a good brand will achieve include: CONFIRMS YOUR CREDIBILITY CONNECTS YOUR TARGET PROSPECTS EMOTIONALLY MOTIVATES THE BUYER CONCRETES USER LOYALTY Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 34
  35. 35. TP3-Image, Branding and Cultural Heritage Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 35
  36. 36. TP3-Image, Branding and Cultural Heritage How to succeed in branding 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 Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 36
  37. 37. TP3-Image, Branding and Cultural Heritage Brand goes beyond marketingImagine you are about to embark on a trip of a lifetime. You’ve received brochures for a luxury resort. The rooms arelavish; the grounds impeccable. Photos of the restaurant’s signature dishes look delectable. You’re sold.You go to thehotel. The room is musty and a tad dirty. The food is barely passable. Service is brusque and spotty at best. When youcomplain to management, you’re met with indifference, or worse, silence. You leave disillusioned and disgusted. For allthe resort’s slick marketing, they’ve fallen woefully short.Branding will not be successful without ensuring that all aspects of yourbusiness reflect and support your intended brand. Intelligent Furniture – TP3: Image, 06/03/12 Branding and Cultural Heritage 37
  38. 38. TP3-Image, Branding and Cultural Heritage Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 38
  39. 39. TP3-Image, Branding and Cultural Heritage Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 39
  40. 40. TP3-Image, Branding and Cultural Heritage How To Define Your Brand 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 howtodefineyoyrbrand.pdf Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 40
  41. 41. TP3-Image, Branding and Cultural Heritage Brand Image: Brand is about meanings 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 SPORT DESIGN FASHION QUALITY MEANS CHILD WORK EXPENSE HIP HOP CULTURE brandandmeaning.pdf Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 41
  42. 42. TP3-Image, Branding and Cultural Heritage Brand purpose Purpose: the motivation behind what we do. What’s your brand purpose? Elements of purpose: AMBITION AND DESIRE TALENT RATIONAL INTENT VALUES CONTEXT CREATION & IMMAGINATION NARRATIVE RESOURCES Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 42
  43. 43. TP3-Image, Branding and Cultural Heritage AMBITION AND DESIRE 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 + RATIONAL INTENT = BRAND STRATEGY Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 43
  44. 44. TP3-Image, Branding and Cultural Heritage TALENT Do not overstimate, do not underestimate, recognize and develop it. 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 Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 44
  45. 45. TP3-Image, Branding and Cultural Heritage BRIANZA WOODEN FURNITURE DISTRICT 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 Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 45
  46. 46. Intelligent Furniture – TP3: Image,06/03/12 Branding and Cultural Heritage 46
  47. 47. 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.06/03/12 47

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