Branding the Moon

"Moscow shot for the Moon, and scored a bullseye".

Although the Americans were the first to set foot on the Moon in 1969, they were not the first to leave their mark on the lunar surface.

Lunar pennants

In a fascinating act of planetary branding, or a sophisticated piece of land-art to trump any Andy Goldsworthy, the Soviet Luna-2 mission was the first man-made object to reach the surface of the Moon, crash-landing east of Mare Imbrium, on September 14, 1959. The Universal Newsreels report called it a propaganda bonus for Krushchev, stating "Moscow shot for the Moon, and scored a bullseye".

On board the Luna-2 craft were 2 small spheres, composed on a number of pentagonal panels, like a small football. The panels were made from titanium with "thermoresistant polysiloxane enamels." Each pentagon is a pennant, printed with the USSR state seal - a wreath of grain around the hammer and sickle - or the message СССР (USSR), СЕНТЯБРЬ(September) , 1959.

Luna Sphere

The ball on display at Kansas Cosmodrome, as discussed here, is inscribed with ЯНВАРЬ (January), rather than September, so it is likely that these were also placed on the earlier Luna 1 mission which launched in January 1959. Due to a programming error, Luna 1 missed the Moon by approximately 6000km, and instead became the first man-made object to reach heliocentric object. Its orbit now lies somewhere between Earth and Mars. With typical Soviet opportunism, it was dubbed Mechta (Dream) and also referred to as the First Cosmic Rocket.

It is unclear whether the balls were fitted with an explosive charge, to be fired from the craft before impact, and scattering individual pentagonal pennants, or whether the sphere was designed to stay intact, bouncing and rolling across the lunar dust. Either way it is unclear whether they would have survived the heat generated by the impact of Luna 2, estimated at 11000°K.

This picture implies there were two different sizes of sphere. The Wikipedia article states that there was a third ball, which was located in the main part of the rocket, which crashed into the Moon 30 minutes after the Luna-2 probe.

Luna 2

As this excellent page on Soviet spacecraft pennants shows, it seems that all Soviet space craft carried metallic pennants, left to commemorate the missions. This included the various Mars probes and the Venera (Venus) missions. Later Luna missions included rectangular pennants that illustrated from whence the craft came.

Glass Houses

"I’m a plagiarist man — you see, you must take everything from everybody"

Philip Johnson, interview with Susan Sontag.

With all the press jouissance over the possibility of a clone of a Zaha Hadid project in China being completed before the original, there is a historical precedent of the copy preceding the original, in perhaps the greatest act of architectural plagiarism to date. The story concerns two of the most famous buildings of the Modern Movement, The Farnsworth House by Mies van der Rohe, and Philip Johnson's Glass House.

The original in this scenario in Mies' Farnsworth House, planned in 1945 For Mrs Farnsworth in Plano, Illinois, but completed in 1951. A model was exhibited at the MOMA in 1947, at a show about modern architecture part curated by, you guessed it, Philip Johnson. Johnson was able to design and build The Glass House for himself quicker than Mies, with his project completed in 1949 and subsequently widely published in the architectural press.

Farnsworth House

Mies was understandably said to be furious, partly because he thought people would conclude that his was the derivative work. And it's not difficult to see the direct influence of one upon the other, both being essentially glass boxes, with full height glazing, and a flat roof supported by edge mounted columns giving an entirely free plan, with a central service core. There are differences of course, primarily the raised platform upon which the Farnsworth House sits, and the white paintwork. In contrast, the Glass House sits into the ground more, and with its darker colouring, sits more within the landscape than against it. In Johnson's Glass House, the corner columns together with the floor and roof slabs creates a box-like frame, whereas Mies, in moving the columns inwards, dissolves the edges and make the horizontal elements float more.

Glass House

David Holowka, in a wonderful article on his Architakes blog, calls Johnson's iterations "history's worst case of the anxiety of influence", and later recalls Franz Schulze, "biographer of both men, states in Philip Johnson, Life and Work, that Mies belabored Johnson 'not for having copied him but for trying to and failing.'"

Johnson went through many variations in his design for the Glass House, somewhere between 27 (the official view) and 79 (according to his assistant Landis Gores). As the Architakes article describes: "After 25 tries, Johnson’s tortured resignation that the Farnsworth House was not to be improved upon is on full view in penultimate scheme 26′s nearly actionable plagiarism of its plan.",

Mies and Johnson continued to have an uneasy professional relationship, working together on the Seagram building in New York. Mies visited Johnson at the Glass House in 1955, but famously refused to stay there. "After a night of drinking, Mies picked at the Glass House's details until Johnson indirectly retaliated by challenging the greatness of one of Mies's favorite buildings, Berlage's Amsterdam Stock Exchange. In a 1985 interview by Robert A.M. Stern published in The Philip Johnson Tapes, Johnson describes Mies’s quietly angry response: "I’m not staying here tonight. Find me another place to stay."

Here is a short Sarah Morris' 2010 film 'Points on a Line':

Sarah Morris "Points on a Line" from Sarah Morris on Vimeo.

Who owns an architectural idiom? After all, Mies didn't invent modernist architecture or the idea of building a house from steel and glass, even if we can admit that the Farnsworth House represents a high-water mark for Modernism. We can sense that Johnson's Glass house has crossed a boundary between inspiration and plagiarism, without being able to explain fully why. It is a fuzzy boundary, and any artistic endeavour will alway find it hard to separate inspiration from duplication. As far as I know, the rules of copyright do not apply to architecture in the same way that they do not apply to fashion. Buildings and clothes are both regarded as utility, and therefore unable to be registered.

It is only Western architecture of the 20th century that began to prize uniqueness in architectural designs so highly, and denigrate similarity and duplication in favour of a radical individuality. Johnson's building, while certainly derivative, ultimately arrives at a different destination from the Mies house. While the Farnsworth House sits against the landscape, the Glass House rests within it, and both solutions are equally valid. Unlike the Chinese clone of a Hadid design, it is not simply a context-free rip-off.

Olympics Brand Exclusion Zone

Advertising restriction zone around Olympic Park In graphic design, an 'exclusion zone' is an area around a logo which must be left clear. Corporate brand and logo usage guidelines demonstrate the proportion of vertical and horizontal space around a logo into which no other element can intrude.

In urban design, exclusion zones are becoming commonplace in relation to sponsorship of sporting events. The Brand Exclusion Zone is the newest form of urban demarcation, and can be used not only to affect signage and advertising, but also restrict personal freedom of choice. Within this context, the London 2012 Olympics represents one of the most radical restructuring of the rights of the city in London. The 'canvas' of London will belong exclusively to the Olympic marquee brands.

In essence, London has abdicated all rights and responsibilities to the International Olympic Committee, and implemented legislation which creates radical new spatial demarcations not only within the Olympic Park, but because of the distributed nature of the Olympic venues, across the whole of central London. London has surrendered the traditional rights to the city to the demands of the Olympic 'family' and their corporate paymasters. What the IOC want, London will give. London will be on brand lockdown.

The most carefully policed Brand Exclusion Zone will be around the Olympic Park, and extend up to 1km beyond its perimeter, for up to 35 days. Within this area, officially called an Advertising and Street Trade Restrictions venue restriction zone, no advertising for brands designated as competing with those of the official Olympic sponsors will be allowed. (Originally, as detailed here, only official sponsors were allowed to advertise, but leftover sites are now available). This will be supported by preventing spectators from wearing clothing prominently displaying competing brands, or from entering the exclusion zone with unofficial snack and beverage choices. Within the Zone, the world's biggest McDonald's will be the only branded food outlet, and Visa will be the only payment card accepted.

Advertising restriction zone around Greenwich

Advertising restriction zone around Wimbledon

This brand apartheid is designed to prevent "ambush marketing", the gaining exposure of an brand through unofficial means. One of the best known examples of this was in the World Cup in 2010, where a bevy of 36 Dutch beauties in orange dresses provided by Bavaria beer gained considerable media attention, to the chagrin of the official World Cup beer, Budweiser. At London 2012, branding 'police' will be on hand to ensure that nothing like this happens, with potential criminal prosecutions against those responsible. Organising committee LOCOG will also take steps to ensure that no unofficial business tries to associate itself with the Olympics by using phrases like 'London 2012', even on such innocuous things such as a cafe menu offering an 'Olympic breakfast'. The Olympics authorities are looking to control both language and space.

Ambush marketing at World Cup 2010

And it's not just London. All the venues for the 2012 Olympics will be on brand lockdown. In Coventry, even the roadsigns will be changed so that there is no reference to the Ricoh Arena, which is hosting matches in the football tournament. Even logos on hand dryers in the toilets are being covered up. The Sports Direct Arena in Newcastle will have to revert back to St. James Park for the duration of the Olympics.

Traditionally, the most epic guerrilla marketing war has taken place between sportswear rivals Nike and Adidas. Whereas Adidas has long been an official sponsor of major sporting events such as the World Cup and the Olympics, Nike has cast itself as the hip, streetwise alternative, and taken considerable steps to trump Adidas in gaining exposure at major sporting events.

1996 was ambush marketing's breakout year, with Nike making a concerted effort to upset the official sporting sponsors of both the Euro 96 football tournament in England and the Olympic games in Atlanta:

"The 1996 edition of the European Championships, Uefa’s premier international quadrennial soccer tournament, provided an example of ambush marketing that changed the face of sports sponsorship. English sportswear company Umbro had paid for the rights to be the official sportswear supplier of the championships, only to find that Nike had purchased all the poster space and advertising sites in and around Wembley Park underground station, the main travel hub for England’s national stadium, Wembley. Nike’s move completely negated the power of Umbro’s official partnership. The same thing happened for the World Cup in 1998 when Nike hijacked Adidas’ official association in much the same way. As a consequence Uefa, European soccer’s governing body, has spearheaded the use and enforcement of marketing exclusion zones surrounding stadia, forcing the official sponsorship agencies of the competition in question to buy all the advertising space within a 1.3 mile radius of the stadia. The IOC too was quick to adopt this counter-ambushing strategy. The ability to implement such exclusion zones is now a key element in the process to decide future Olympic host cities."

In World Cup 2010 in South Africa, Nike circumvented the billboard advertising ban by projecting onto the side of a building in Johannesburg. As the authorities get wiser, Nike get smarter.

Nike Write the Future

Nike Write the Future

Whereas the Beijing Olympics represented an embracing of China into the coven of Westernism, the London Olympics will show us just how venal unfettered capitalism can be, how its default modus operandi is paranoia, and rather than a celebration of human endeavour and athleticism, it demonstrates more that the power of branding requires such strict parameters of control that nothing can be left to chance. Brand Exclusion Zones are just one manifestation of the privatisation of public space that London is fast-tracking. For a more thorough analysis of the much hyped legacy of London 2012, I urge you to read Anna Minton's Ground Control, recently updated to include a new chapter on the Olympics.

London Olympics Riot

I've said it before and I'll say it again, the marketeers are way ahead of the urbanists in understanding how the city works. The spatial politics of brand paranoia will be part of the true legacy of the London Olympics.

Previously:

Het Nieuwe Bouwen

Het Nieuwe Bouwen in Rotterdam, book jacket

Back in the day, I probably knew more about the modern movement in Dutch architecture, Het Nieuwe Bouwen, than just about anything else. Had I been asked to select a specialist subject to appear on Mastermind, it's probably what I would have chosen. These days I've forgotten more than I can remember, but the recent sight of these posters by Wim Crouwel has rekindled my memory, and why I was (and remain) so fascinated by it.

The Dutch experiment with Functionalism seemed to be much more engaged than the brief flirtation of the UK. The evolution of ideas and form works of precursors such as Berlage, van de Velde and Dudok, through to Duiker, Oud, Rietveld and onto to Brinkmann, van der Vlugt, Bekama etc. to my eyes form a compelling continuum of experimentation, openness and shared ambition, and established a platform for the confidence of Dutch architecture throughout the course of the 20th Century.

Het Nieuwe Bouwen, CIAM poster

Het Nieuwe Bouwen, posters

These posters, created by Crouwel's Total Studio in 1983 to accompany a series of exhibitions across museums Holland including the Stedelijk in Amsterdam, Boijmans van Beuningen in Rotterdam, the Kröller-Müller at Otterlo, and the Gementesmuseum in The Hague. Each of the exhibitions was accompanied by a book, also designed by Crouwel/ Total Studio, and these are well worth tracking down for both their beautiful design as well as their content.

The beauty of the covers/ posters, with the axonometric view of the signature buildings, on a silvered background with the roof picked out in white, and with the helvetica type set at a 45 degree angle, reflects a total synthesis between graphic design and architecture. It doesn't get better than this.

(The images shown here don't really do them justice - I will scan and photograph the covers of my book copies to replace them shortly, if anyone has any decent images of the posters please let me know).

Het Nieuwe Bouwen, books You can pick these books up second hand but you can also download 4 of them from Scribd (links: Previous History, Amsterdam, Rotterdam, De Stijl, CIAM). If you're feeling rich you can also buy the posters, try here.

This post sponsored by Portakabin:
Modular construction

Learning from Niketown

"I like Nike, but wait a minute. The neighbourhood supports, so put some money in it."
- Public Enemy, Shut Em Down

Nike Scorpion

In the 18 years since Chuck D rapped those lines, Nike has moved far ahead of the curve in developing an advanced urban marketing strategy that seeks to connect their brand with neighbourhoods in cities across the world.

In a prior post, Branding the Boroughs, I mentioned the Nike Scorpion KO campaign as a example of marketeers refiguring the city in terms of their brand. Via the web site of creatives Denesh and Anuj I've finally been able to find some more images of it.

The 2002 Scorpion KO campaign was centred around a cage-soccer tournament of 3-a-side, first-goal wins, an extension of a TV advert, directed by Terry Gilliam, and fronted by Eric Cantona.

Teams across London competed in a number of regional heats (at venues rebranded Nikeparks) before competing in a final at a rebranded Millennium Dome (Nikepark @ the Dome). The campaign was 'taken' to the streets of London by giving each borough in London the identity of a species of scorpion, eg Greewich Giants, Bexley Devils, Enfield Tigers, each with its own signature moves, style of attack etc, and complete with text message/ sig file icons. This was then reinforced via traditional outdoor advertising - bus shelters and billboards, with more guerilla forms such as stencil graffiti/ flyposting, adding an edgy ("you are now in Emperors' territory") mythological layer across the city.

Nike Scorpion

Nike Scorpion

Nike Scorpion

In connecting young people with an urban identity reinforced on the streets, and via online and mobile messaging, Nike created a powerful way of representing the city both with space and with signs, a 'Situationist' urban realm.

According to the Wikipedia page:
"Following the airing of the commercials, in June 2002 an estimated 1 to 2 million children competed in matches following the Scorpion KO rules in about a dozen cities worldwide, including London (in the Millennium Dome), Beijing, and Buenos Aires.

Nike considered the campaign a success, with Nike president Mark Parker commenting, "This spring's integrated football marketing initiative was the most comprehensive and successful global campaign ever executed by Nike."'

Nike Scorpion

In his book 'Who's afraid of Niketown', author Friedrich Von Borries explores the lengths to which Nike go to transform urban space into brand space. Bart Lootsma, in his preface, writes:

"The new brand city described by Borries ... is a dynamic city, a setting for organizing 'situations.' In order to reach even the smallest target groups, the media will be deployed in this city far more interactively than they are today. Streets, fallow zones, interstitial spaces and ruins will play essential roles in the brand name city. These spaces will not be overlaid with advertising in classical fashion, but will instead become the objects of discriminating marketing strategies. Here initiatives from below that devise new leisure activities will be instrumentalized, as will critical actions and political demonstrations."

Borries considers the role of architecture in the 'brand city':

"In recent years the actual task of architecture has changed radically. The illusion machine of marketing has rediscovered the reality: architecture is now intended to convey the identity of a brand, is now expected, as an experiential realm, to be an element in brand communication."

Though focussed on Nike's activities in Berlin, almost identical campaigns have run in other cities across the world, including London, with events such as North versus South runs, recoding the city as a competitive space, with clearly defined winners and losers.

Borries continues:

"is it the future of the city to be the remix of an advertising spot? The brand makes the space available in which our social relations are mirrored. With Nike, this is the image of the combative city, of a remorseless battlefield of identity. The city reproduces and elucidates our competitive society. Only as an explanatory model can this advertising-becomes-space reach its target group... In the future experience-oriented city, the brand is a crucial agent, if not the paramount one. In that city, the brand becomes a partner in all forms of planning, the determinant of development trends. Precisely to the degree that economic decisions replace political ones, the brand displaces the primacy of the political in the shaping of the city. Niketown is not called that simply because it is a department store for sporting goods, but instead because Nike claims to transform the city it inhabits into a Nike city."

We have as much to learn from Nike as Venturi, from Niketown as Levittown.

Previously:

Grootens

Vinex atlas

Operating at the intersection of data visualisation and urbanism, the Atlas work of Dutch book designer Joost Grootens is without peer. At its best, graphic design and data visualisation reveals new truths, ways of seeing and understanding. In Grootens' work on publications such as the Metropolitan World Atlas this focus has been on the urban realm, and in Atlases such as the New Dutch Water Defence Line, and the Vinex Atlas, specific aspects of the Dutch built environment. But while they may be preoccupied with specific elements of the Dutch landscape, they reveal a process of representation which rewards patient study.

" Its position in the landscape, the forts, the inundation system, the geomorphology, the strategic system and recent developments can be read off in maps rendered so as to give an understanding of all aspects of the defence line landscape. The defence line reveals itself as a many-tentacled military defensive system of forts, group shelters and polders that can be flooded at the threat of war. The maps show the cohesion of the defence line as a landscape-strategic structure as well as the topographic composition of this structure in layers and components. The more detailed maps of the forts display the wealth of historic places, insertions in the landscape and defining elements."

Waterline defence Waterline defence

As with the Vinex Atlas, an exhaustive, analytical guide to the Vinex districts across the Netherlands, a seemingly dry topic of limited appeal is embued with a rigourous aesthetic sensibility.

Vinex atlas

In December this year, 010 will publish an Atlas of the Conflict - Israel-Palestine, designed by Grootens, and in January 2010 a Grootens monograph entitled I swear I use no art at all will be published, taking an analytic, atlas-like approach to mapping his own work:

"A monograph that works like an atlas, it charts in a systematic and neutral fashion the first 100 books designed by Grootens in the past ten years. In the first chapter, ’10 years’, Grootens uses timelines, lists and plans to trace the course of his career as a designer, the people he works with, the places where the work gets done."

Metropolitan World Atlas

You can find out more about the work of Joost Grootens studio at his website, and watch video interviews here and here.