Airport Marketing: redevelopment of spaces

Facoltà di Ingegneria Civile e Industriale
Airport Marketing:
redevelopment of spaces
— Bachelor Thesis —
Author: Luis Gómez Gutiérrez
Supervisor: Umberto Grasselli
Company supervisor: Filippo Quattrocchi
October 2014

Original title: Airport Marketing: redevelopment of spaces
Author: Luis Gómez Gutiérrez
Supervisor: Umberto Grasselli
Company supervisor (ADR): Filippo Quattrocchi
Bachelor thesis submitted to obtain the Degree in Aerospace Engineering
by Universidad Politécnica de Madrid (UPM).
This thesis has been written in Rome, as a part of an Erasmus Learning
Agreement between Universidad Politécnica de Madrid and Sapienza –
Università di Roma.
Version 1 — September 2014
Version 1.1 (extended) — September 2014
Version 1.2 (updated) — October 2014
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Agradecimientos
A todos los que la presente vieren y
entendieren.
Inicio de las Leyes Orgánicas y de la
Constitución. Juan Carlos I
“El Trabajo Fin de Grado, en adelante TFG, es el módulo que concluye
el plan de estudios de todo título oficial de Grado. El TFG constituye, en
cierta medida, la primera experiencia de trabajo de conjunto del alumno,
con carácter profesional, sirviéndole de síntesis y colofón de sus estudios”.
Tanto è vero, que el presente TFG constituye un muestrario de muchas
competencias transversales que he adquirido a lo largo de mi paso por la
universidad, pero fuera de las aulas.
Alguien muy sabio dijo una vez que el ingeniero ya no es solo aquel
profesional que hace los cálculos, sino que hace falta también presentarlos.
Presentarlos para venderlos en el mejor modo posible. Es por ello que el
marketing es ya una asignatura troncal en el plan de estudios de la vida del
ingeniero. Y es por ello que este trabajo habla sobre marketing.
Este documento ha sido maquetado con LATEX, un sistema de composi-
ción de textos ampliamente usado en el ámbito científico... que no se enseña
en clase. Quiero agradecer a Juanlu que me descubriera por primera vez este
mundo, y a JLu que me ayudara con mis primeros pasitos en un cuartucho
rebosante de Linux, deuvedés y proyectores de 16 mm.
Todas las gráficas del documento han sido creadas con MATLAB, el
laboratorio de matrices que todos los profesores piensan, año tras año, que
te lo enseñan entre el bachillerato y el primer día de universidad.
Lo que sí se enseñan son matemáticas. Y física. Y si en los currículos
de los ingenieros no figura “Lenguaje matemático – Nivel C2” es porque a
menudo se descuida la “ortografía matemática”. Que levante la mano quien
se haya leído el manual del famoso Sistema Internacional de Unidades (SI).
El presente trabajo es fruto de muchas horas leyendo manuales de usua-
rio, manuales de estilo, manuales de marketing... Mucha Wikipedia. Pero
quizá el manual más importante que nadie me enseñó a usar es el de las
personas. Porque ningún trabajo es fruto de una sola persona, gracias a
iii

Agradecimientos iv
Papá por sus correcciones con el inglés y a Karina por sus aportaciones
en marketing. Gracias a quienes compartiendo sus ideas, fotos o feedback
han colaborado a que este trabajo sea mejor. Grazie al mio relatore Umber-
to Grasselli, e al mio correlatore in ADR, Filippo Quattrocchi, che hanno
messo fin dall’inizio tanto impegno affinché questa tesi sia potuta andare
avanti.
Gracias de corazón a mi familia, quien siempre me apoyó aunque no
entendieran qué eran esos nombres de asignaturas, a veces en italiano.
Gracias a esos amigos que me vieron crecer y que siempre están ahí para
recibirme cada vez que vuelvo de una azotea, una aventura o un país distinto.
Gracias a los amigos que he conocido viajando, en especial a aquellos de
mi Erasmus en Roma, quienes me hicieron abrir aún más la mente y apostar
más por la calidad que por la cantidad.
Gracias a mis amigos de la universidad, sin los cuales sobrevivir a la
carrera no hubiera sido posible. Gracias a quien trajera el musolito. Al vio-
linista de Nuevos Ministerios. A los amigos del primer día, a los de por la
tarde, a los del paso a Bolonia y a los que participaron en “Auto”.
Gracias a las asociaciones universitarias, quienes de verdad mantienen
viva la Universidad. En especial al CineClub Aeronáuticos, por alimentar
mi amor al cine y al software libre; al Grupo de Teatro, por posibilitar mi
desarrollo artístico; y a BEST Madrid y BEST Rome, por hacerme entender
que la universidad es el arenero donde se puede probar todo sin el riesgo del
entorno profesional. Gracias a las secretarias de Extensión Universitaria y
Relaciones Internacionales también.
Gracias a los profesores universitarios que se preocupan por la enseñanza,
por el conocimiento y por el trato humano. Gracias a Bartolo Luque y a
sus primos, a su ciencia(ficción) y a su invariante buen humor. Gracias a
Pedro, aquel maestro de laboratorio, que tras décadas en la Escuela sabe
transmitir que el torno es solo una herramienta, pero los estudiantes somos
personas. Gracias a Antonio Rodríguez, que sin ser nunca mi profesor, sí
fue un excelente compañero de Mesas y tertulias en la cafetería. Gracias a
Ignacio el Gandhi, a Vicky de Circuitos, a Vicky de Mates, a Lola de Dibujo,
a Mancebo y su Jardín, a Mario el Becario, a Catalina Salom, a Pablo de
Assas y a Juan de Burgos.
Decía Miguel Ángel Tierno en 2008, en su discurso de bienvenida para
los alumnos de nuevo ingreso: “Un ingeniero aeronáutico es, como su propio
nombre indica, primero ingeniero, y luego aeronáutico. Y antes que nada,
persona”. Gracias a mi Escuela y a mi Universidad. Por permitirme vivir to-
das estas experiencias. Por ser públicas. Y por continuar formando personas,
ingenieros y aeronáuticos.
Luis Gómez Gutiérrez

Resumen
El tiempo ha pasado volando desde que en los primeros campos de vuelo
aterrizaran aeronaves rudimentarias del siglo XX. Hoy en día, los aeropuertos
se han convertido en grandes puntos de conexión donde a los pasajeros se
les ofrece una cantidad ingente de servicios más allá de volar. En la presente
tesina, apuntamos al redesarrollo de los espacios aeroportuarios en Roma
a través del uso de herramientas de marketing y de la integración de los
tres elementos que tradicionalmente luchan por acaparar la atención de los
pasajeros: publicidad, señalética e información operativa.
En el capítulo 1 introducimos el proyecto. A continuación, analizamos
“de qué pasta” están hechos los aeropuertos de Roma. Estudiamos el tráfi-
co de pasajeros y hacemos una previsión para los próximos años. También
prestamos atención a la accesibilidad, a los servicios e infraestructuras, y a
cómo están organizados en cuanto a publicidad se refiere.
En el capítulo 2 damos un vistazo a las teorías antropológicas de Marc
Augé. Seguidamente, reflexionamos sobre la importancia de los ingresos no-
aeronáuticos para el aeropuerto, y presentamos los formatos publicitarios
más comunes del mercado actual. Por último, tomamos en consideración las
leyes y normas técnicas que regulan la señalética y el diseño universal en el
aeropuerto.
En el capítulo 3 contribuimos con cuatro iniciativas para re-desarrollar
los espacios del aeropuerto: modernizar la señalética, agregar tótems multi-
media, desarrollar una aplicación móvil y crear el concepto de “Airport of
Fun”.
En el último capítulo, exponemos las razones para seleccionar nuestras
propuestas y cómo estas beneficiarán a los aeropuertos. Sugerimos que se lle-
ven a cabo futuros estudios complementarios para elaborar los presupuestos
del plan de acción.
Palabras clave:
diseño aeroportuario, marketing, publicidad, señalética, no-lugares
v

Abstract
Time has flown speedily since the first airfields for rudimentary aircraft in the
twentieth century. Nowadays, airports have become great connection points
where passengers are offered a jumble of services other than flying. In this
thesis, we are aiming at the redevelopment of airport spaces in Rome using
marketing tools and integrating the three basic elements that struggle for
the passengers’ attention: advertising, signage and operative information.
In chapter 1 we introduce this project. Next, we analyze what the air-
ports of Rome are “made of”. We dive in their passenger traffic and progno-
sis for the next few years. We also pay attention to their accessibility, their
services and their facilities, and how they are in terms of advertising.
In chapter 2 we glance at the anthropological theories of Marc Augé.
Then, we reflect on the importance of non-aeronautical revenue streams for
airports, and we present the advertising formats which can be found in the
market nowadays. Finally, we observe the laws and technical standards
applicable to airport signage and accessibility design.
In chapter 3 we contribute with four steps to redevelop the spaces of the
airport: updating the signage, adding multimedia totems, creating a mobile
app and building up the concept of “Airport of Fun”.
In the last chapter, we expose the reasons for selecting our proposals and
how they will benefit the airports. We suggest that complementary studies
are carried out in future to elaborate the budgets for the action plan.
Keywords: airport design, marketing, advertising, signage, non-places
vi

Contents
Agradecimientos iii
Resumen v
Abstract vi
Contents vii
List of Figures ix
List of Tables x
List of acronyms xi
1 Introduction and current situation 1
1.1 Vision, mission and objectives . . . . . . . . . . . . . . . . . . 1
1.2 Rome airport system . . . . . . . . . . . . . . . . . . . . . . . 2
1.2.1 Catchment area . . . . . . . . . . . . . . . . . . . . . . 3
1.2.2 Traﬃc data . . . . . . . . . . . . . . . . . . . . . . . . 4
1.2.3 Traﬃc prognosis . . . . . . . . . . . . . . . . . . . . . 4
1.3 Airport accessibility . . . . . . . . . . . . . . . . . . . . . . . 5
1.4 Airport commercial areas . . . . . . . . . . . . . . . . . . . . 10
1.5 Airport as an advertising medium . . . . . . . . . . . . . . . . 10
2 Theoretical framework 11
2.1 Spaces of an airport . . . . . . . . . . . . . . . . . . . . . . . 11
2.1.1 Anthropological places and non-places . . . . . . . . . 11
2.2 Economics of the airports . . . . . . . . . . . . . . . . . . . . 13
2.3 Advertising . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
2.3.1 Advertising displays . . . . . . . . . . . . . . . . . . . 15
2.3.2 From analogical to digital . . . . . . . . . . . . . . . . 17
2.4 Signage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2.4.1 Signage for accessibility . . . . . . . . . . . . . . . . . 20
vii

Table of contents viii
2.4.2 Method for a proper signage . . . . . . . . . . . . . . 21
3 Improvement proposals 24
3.1 Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
3.2 Proposal 1: Renewed signage . . . . . . . . . . . . . . . . . . 26
3.3 Proposal 2: Multimedia totems . . . . . . . . . . . . . . . . . 30
3.4 Proposal 3: App . . . . . . . . . . . . . . . . . . . . . . . . . 32
3.5 Proposal 4: Airport of Fun . . . . . . . . . . . . . . . . . . . 34
3.6 Action plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
4 Conclusions 41
Appendices 43
A MATLAB code 44
A.1 Script for prognosis of passenger traﬃc . . . . . . . . . . . . . 44
B Airport terminal maps 46
B.1 Map of Ciampino airport terminal . . . . . . . . . . . . . . . 46
B.2 Maps of Fiumicino airport terminals . . . . . . . . . . . . . . 48
Bibliography 54

List of Figures
1.1 Catchment area . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.2 Ten-year passenger traﬃc prognosis . . . . . . . . . . . . . . . 8
2.1 Distribution of revenues at European airports in 2008–2011 . 14
2.2 Breakdown of non aeronautical revenues in the world in 2012 14
2.3 Media mix January to September 2013 . . . . . . . . . . . . . 18
2.4 World media mix variation in 2013. . . . . . . . . . . . . . . . 18
2.5 Interactive screens in diﬀerent Australian airports . . . . . . . 19
2.6 “Social Tree” at Singapore Changi Airport . . . . . . . . . . . 20
2.7 Tactile map in a metro station of Rome . . . . . . . . . . . . 22
2.8 International Symbol of Access . . . . . . . . . . . . . . . . . 23
3.1 Integration between digital advertising and operative infor-
mation at Madrid airport . . . . . . . . . . . . . . . . . . . . 25
3.2 A good design that advertises its own brand and humanizes
the space at Madrid airport . . . . . . . . . . . . . . . . . . . 25
3.3 Poster asking for feedback about the courtesy, after a security
control at Madrid airport . . . . . . . . . . . . . . . . . . . . 26
3.4 Sample of Frutiger typeface . . . . . . . . . . . . . . . . . . . 27
3.5 Ergonomic scanning area . . . . . . . . . . . . . . . . . . . . . 29
3.6 Multimedia totem possibilities . . . . . . . . . . . . . . . . . . 31
3.7 Airport apps . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
3.8 Tropical Gardens at Madrid Atocha railway station . . . . . . 35
3.9 Interactive board game exhibition at Singapore Changi airport 37
3.10 Baby care room sponsored by Chupa Chups at Pulkovo airport 37
B.1 Ciampino airport terminal map . . . . . . . . . . . . . . . . . 47
B.2 Fiumicino airport terminal maps . . . . . . . . . . . . . . . . 53
ix

List of Tables
1.1 ADR passenger traffic data in 2013 . . . . . . . . . . . . . . . 4
1.2 Fiumicino and Ciampino passenger traffic data in 2013 . . . . 4
2.1 Specifications of signage . . . . . . . . . . . . . . . . . . . . . 21
3.1 Reccomended font size according to reading distance . . . . . 28
3.2 Reccomended illuminance level for different terminal areas . . 30
3.3 Action plan for Ciampino . . . . . . . . . . . . . . . . . . . . 39
3.4 Action plan for Fiumicino . . . . . . . . . . . . . . . . . . . . 39
x

List of Acronyms
ADR Aeroporti di Roma. xi, 2, 10
ATC Air Traﬃc Control. xi, 11, 13
BLE Bluetooth Low Energy. xi, 30, 33, 38
CSR Corporate Social Responsibility. xi, 38
DOOH Digital Out Of Home. xi, 17, 19
IAG International Airlines Group. xi, 4
IATA International Air Transport Association. xi, 2
ICAO International Civil Aviation Organization. xi, 2
ISA International Symbol of Access. xi, 22
IT Information Technology. xi, 10
NFC Near Field Communication. xi, 19
OAAA Outdoor Advertising Association of America. xi, 16
OOH Out Of Home. xi, 10, 15, 17, 31, 41
POS point of sale. xi, 30
PRM Person with Reduced Mobility. xi, 5, 9, 21, 22, 38
QR code Quick Response code. xi, 19
ROI Return On Investment. xi, 17, 31, 40
UUID universally unique identiﬁer. xi, 30
WCAG Web Content Accessibility Guidelines. xi, 28
xi

Chapter 1
Introduction and current
situation
1.1 Vision, mission and objectives
The present bachelor thesis constitutes a strategic plan with a clear vision:
a future with friendly airports.
Airport marketing aims at communicating, thus generating, the value of
an airport to its customers, pursuing the sale of its products and services.
Our mission will be to redevelop the spaces of the airport using marketing
tools, and integrating advertising, signage and operative information all in-
side it. Indeed, these are the three basic environs of an airport that struggle
for the distribution of its information, hence they require close attention to
be integrated harmoniously.
• Advertising is a form of marketing communication used to encourage
the audience to take some action. In the airport, advertising is prof-
itable, yet optional. Coming to practical terms, it means that within
the incomes of the airport, advertising is a non despicable matter.
• Signage refers to the design or use of signs and symbols to communicate
a message to a speciﬁc group. Of course, signage is necessary to a lesser
extent, notwithstanding it is critical if we do not want passengers to
get lost inside the terminal.
• As regards the operative information, we are referring here to the ﬂow
of timetables a passenger must continuously check: departures, arrivals
and baggage claim. We will eventually use practical information when
referring to both signage and operative information.
Our objectives are both to increase the commercial revenue of the airport,
and to enhance the passengers’ image of the airport. We will focus on the
1

1.2. Rome airport system 2
two commercial airports of Rome, Fiumicino and Ciampino, attending to
their local particularities.
At this point, we will analyze the current situation of the airports of
Rome regarding passenger traﬃc, accessibility, services, facilities and adver-
tising.
1.2 Rome airport system
Aeroporti di Roma (ADR) S.p.A. was established in 1974 as the exclusive
concessionaire for the operation of the main Italian airport system consist-
ing of both airports of Rome: Fiumicino “Leonardo da Vinci” airport and
Ciampino “G. B. Pastine” airport.
Rome airport system welcomed during the year 2013 over 41 million
passengers with more than 230 destinations worldwide served by over 100
airlines.
Fiumicino – Aeroporto Internazionale “Leonardo da Vinci”
• IATA airport code: FCO
• ICAO location indicator: LIRF
• ARP coordinates: 41◦48 40 N 012◦15 09 E
• Direction and distance from Rome: 35 km WSW
• Type: Public
• Operational hours: H24
• Runways: 4
• Public transportation: train, bus
Ciampino – Aeroporto Internazionale “G. B. Pastine”
• IATA airport code: CIA
• ICAO location indicator: LIRA
• ARP coordinates: 41◦47 58 N 012◦35 50 E
• Direction and distance from Rome: 12 km SSE
• Type: Military/Public
• Operational hours: H24
• Runways: 1
• Public transportation: bus

Figure 1.1: Catchment area. © ADR S.p.A.
1.2.1 Catchment area
Thanks to Rome’s strategic position at the center of Italy, Rome airport
system serves an incredibly extensive and homogeneous catchment area.
Rome is the largest Italian city, with approximately 3 million inhabitants
and a per-capita income higher than the Italian average value: by far, two
fundamental elements that, coupled with the capital city’s impressively large
historical and cultural background, give carriers an excellent starting point
to successfully operate new flight toward any destination.
Rome is in fact considered to be one of the most attractive interna-
tional tourist destinations, having received 8 044 196 people in the year 2012
(Source: Ente Bilaterale Turismo del Lazio), with a 5.6 % increase over the
previous year.
The Italian capital is not only a tourist destination, but also the main
political and economical center in Italy, hosting all the foreign embassies and
lots of leading multinational headquarters running business in Italy. This
is further corroborated by the passenger profile assessments, as more than
30 % of passengers traveled to and from Rome for business purposes in 2013.
From a broader perspective, 12 million people live in what can be con-
sidered a natural catchment area within a radius of 250 km around Rome.
Thanks to an excellent road and rail network (with direct access into Fiu-
micino airport), both airports are easy to reach from all the main cities in
Central Italy.
In the absence of any other major local airport hubs, for long haul flights,
Rome Fiumicino airport serves a vast area that extends to Central-Southern
Italy, the islands and beyond, with a population of approximately 32 mil-
lion people: the airport offers in fact a wide network of domestic flights
connecting about 30 Italian destinations.

Traffic Pax %∆ 2012
Domestic 11 987 576 −7.1 %
International 29 033 083 +1.3 %
(EU) 18 912 694 +2.8 %
(Extra EU) 10 120 389 −1.3 %
Total 41 020 659 −1.3 %
Table 1.1: ADR passenger traffic data in 2013. Data from
Aeroporti di Roma S.p.A.
Fiumicino Ciampino
Traffic Pax %∆ 2012 Pax %∆ 2012
Domestic 10 940 013 −8.0 % 1 047 563 +2.5 %
International 25 327 671 +0.6 % 3 705 412 +6.6 %
(EU) 15 331 983 +2.2 % 3 580 711 +5.2 %
(Extra EU) 9 995 688 −1.8 % 124 701 +70.3 %
Total 36 267 684 −2.1 % 4 752 975 +5.6 %
Table 1.2: Fiumicino and Ciampino passenger traffic data in 2013. Data
from Aeroporti di Roma S.p.A.
1.2.2 Traffic data
The overall traffic data during the year 2013 is reported as a whole in table
1.1 and split in table 1.2. These data have been retrieved from http :
//www.adr.it/web/aeroporti-di-roma-en-/bsn-airlines-business.
Fiumicino airport is a hub for Alitalia, the Italian flag carrier, and Vuel-
ing, a Spanish low-cost carrier owned by International Airlines Group (IAG).
According to Airports Council International, it was the 34th world’s busiest
airport in 2013 by passenger traffic.
Ciampino airport was Rome’s main airport until 1961, when Fiumicino
opened. Nowadays, Ciampino handles almost exclusively low-cost and ex-
ecutive flights.
The traffic ratio between the airports of Fiumicino and Ciampino is
nearly 9:1. So for every passenger flying to/from Ciampino, nine do it for
Fiumicino.
1.2.3 Traffic prognosis
Based on a 10-year traffic database, we will extrapolate the historical series
to the next 10 years. This method foresees a linear regression for an adjust-

1.3. Airport accessibility 5
ment to the equation y = a · t + b (where y is the number of passengers,
t is the year, and a and b are parameters calculated using the least square
method). MATLAB code is included in Appendix A.
The most noticeable advantages of this method are its simplicity and
its quickness. Unfortunately we implicitly assume that factors which were
applying in the past, will keep applying in the exact same way in the future.
We anticipate that the traffic passengers will increase by 8.1 % during
the next few years, reaching the integer of 56 million passengers in 2023.
Figure 1.2a shows the overall prognosis of passenger traffic as a whole, and
figures 1.2b and 1.2c split it for each airport.
When comparing the figures, the reader will realize that the scaling of the
vertical axis for the airports of Fiumicino and Ciampino is different. That
explains the apparent dispersion of data in Ciampino’s linear regression.
It is also worth noticing that, although the total traffic keeps consistently
growing in both airports, there are some segments which do not. It is the case
of extra EU passengers at Ciampino, and domestic passengers at Fiumicino.
We will consider that this is due to mathematical lack of robustness of this
method, and for further calculations we will consider them constant from
the latest value, since a long-time negative growing is not to be expected
in passenger traffic. Despite this consideration, it does seem that Italian
passengers are slowly moving from Fiumicino to Ciampino, if we consider
that since 2005 the first one has lost 10 % of them, and the low-cost one has
grown by 217 % instead.
1.3 Airport accessibility
Since arrival at the airports of Rome, Persons with Reduced Mobility (PRM)
are receiving special assistance provided by ADR Assistance S.r.l. during all
their stay. Maps of the terminals are included in Appendix B.
Departures: Assistance Request Points. On arrival at the airport it
is possible to request assistance at the Assistance Request Points. These
are columns that can be easily identified, accessed and used by all PRM
passengers.
At Fiumicino: departures level in Terminals 1, 3 and 5, on the external
walkway, close to the entrances; level 1 of building E in the multi-storey
car park; arrivals level in Terminal 2; railway station, at the entrance to
platform 1.
At Ciampino: at the entrance to the Terminal, departures side; inside
parking area P4, dedicated to PRM.

(a) ADR traﬃc prognosis

(b) Fiumicino traﬃc prognosis

(c) Ciampino traﬃc prognosis
Figure 1.2: Ten-year passenger traﬃc prognosis. Data for 2003–2013 from
Aeroporti di Roma S.p.A.

Tactile routes and haptic maps. There are tactile routes, made using
elements in relief, and maps for the visually handicapped.
At Fiumicino: at the entrances, departures level, of Terminals 1, 3 and
5 (starting at the respective Assistance Request Points); in the “Terrazza
Roma” shopping area in Terminal 3; and along the walkway connecting the
airport buildings with Fiumicino Aeroporto railway station.
At Ciampino: at the departures level of the airport, on the external
walkway.
Arrivals / Flight connections: available staff. Based on the informa-
tion received from the carrier, ADR Assistance staff will receive passengers
on leaving the aircraft and will accompany them to passport control and
to the baggage claim areas, finally taking them to meet their escorts or
transportation (buses and trains connecting the airport are fully accessi-
ble). PRM passengers connecting flights at Fiumicino are transferred to the
ongoing flight or to the special assistance lounges depending on their waiting
time.
Special assistance lounges. These are structures designed to provide
hospitality for passengers with special needs. They can be used by all those
whose ticket carries a passenger assistance code.
Only at Fiumicino: in Terminal 1, at departure level, immediately be-
yond the security checkpoint for staff and for PRM passengers, on the right;
in Terminal 3, at departure level: close to the information desk, the only
lounge that can be accessed without a boarding card; close to exit D1, near
the elevators and access stairs; near the Sky Bridge station, the shuttle con-
necting the West Satellite, opposite the transit desk; in the Satellite, close
to the stairs and elevators leading to the Sky Bridge station; in Terminal 5,
close to the airline information desks.
Accessible toilet facilities. All the WC units within the airports are
equipped with accessible toilet facilities. Additionally at Fiumicino, the
Special Assistance Lounge in the West Satellite has a WC for passengers
with extreme disabilities.
Elevators for PRM passengers. All elevators are wheelchair accessible,
and most of them are fitted with braille buttons.
Staff trained for emergency evacuation. The maps indicate the emer-
gency exits leading to dedicated areas, the so-called “areas of static safety”
in which PRM passengers can await help. ADR Assistance staff is trained
to help evacuate passengers in the event of an emergency.

1.4. Airport commercial areas 10
1.4 Airport commercial areas
The two commercial airports of Rome join over 140 retail stores, around
45 restaurants and over 40 commercial services. The vast majority of them
are located at Fiumicino Airport’s shopping gallery, occupying an area over
25 000 m2, while Ciampino adds four more restaurants and nine retail stores.
Additionally, over 2 000 people work in commercial activities every day.
In 2013, the dwell time spent by passengers at the airport before boarding
was 25 million hours; that produced a total of 22 million sales.
1.5 Airport as an advertising medium
An airport might also be considered a significant advertising medium, maybe
the only one which is truly international and targets a yearly growing au-
dience. The audience is a high or medium-high profile passenger, plus the
greeters. And there is a great assortment of formats, sizes and structures,
more and more customized with the use of Information Technologies (IT).
ADR Advertising, a subsidiary of ADR, manages the advertising of the
airport. In January 2014 it has changed its advertising business model to
embrace a joint venture with Clear Channel Italia, a global leader in Out Of
Home (OOH) advertising and an expert in the airport sector. Clear Channel
Outdoors operates in some 260 airports worldwide, including Venezia and
Treviso, also in Italy. The partnership involves an ambitious project that
includes adopting digital technologies, for which ADR is providing significant
investment.
Nowadays most advertising displays at Fiumicino airport, and all those
at Ciampino, consist of around 800 backlits and banners. At Fiumicino there
are two big digital screens, one outdoors in Terminal 3 (property of Media5)
and a new one indoors (property of ADR) installed in July 2014. Other
digital structures have been recently installed: there are 19 basic digital
totems near Fiumicino railway station (property of MediaOne), 46 basic
totems in the corridors and gates of Fiumicino and 13 more at Ciampino
(property of ADR). Additionally, ADR owns 4 digital columns and 15 video
walls (each with six joined monitors) at Fiumicino, plus 10 working stations
and 32 charging stations shared out for both airports by Samsung.
In the near future, Fiumicino will be provided with 120 more digital
totems, 10 digital columns and 1 digital wall (with 26 monitors), plus 12
more charging stations between both airports. Moreover, half of the ban-
ners and backlits will be cut off, and 200 of the remaining displays will be
renewed.

Chapter 2
Theoretical framework
Do you ever have the feeling that time
stops in an airport? That somehow you
are living in a perpetual present?
Guzmán de Yarza Blache
2.1 Spaces of an airport
We have already discussed about advertising spaces, which applies either
to an area or to a time set aside for advertising, in the case of airports.
The airport also requires controlled airspace above it, within which Air
Traffic Control (ATC) services are provided. The airspace, by the way, is
the portion of the atmosphere belonging to a country above its territory. In
this section we will take a deep look at the airport itself as a space, and its
relations with the people who transit it.
2.1.1 Anthropological places and non-places
Augé (1995) describes the anthropological place as a concrete and symbolic
construction of space, with three basic characteristics: they are places of
identity, of relations and of history. Places of identity because they have
a sense of unit for their inhabitants, they define a group as its own and
different from others. Places of relations because the group development is
dynamic and based on a particular speech and language when performing
and meeting. Finally, a place becomes necessarily historical from the mo-
ment when, combining identity with relations, it is defined by a minimal
stability.
If we linger on the definition of anthropological place we will see that
it is geometric. It can be mapped in terms of three simple spatial forms,
these are the line, the intersection of lines, and the point of intersection. In
the social geography they correspond to routes, axes or paths that lead from
11

2.1. Spaces of an airport 12
one place to another; to crossroads and open spaces where people pass, meet
and gather; and to centers of more or less monumental type.
If a place can be defined as relational, historical and concerned with
identity, then a space which cannot be defined as relational, or historical, or
concerned with identity will be a non-place.
Supermodernity produces non-places. Places and non-places never exist
in pure form anyway: the first is never completely erased, the second never
totally completed. They are like palimpsests on which the scrambled game
of identity and relations is ceaselessly rewritten.
Anthropological places create which is organically social, whereas non-
places create solitary contractuality. Hotel chains, supermarkets, banks,
motorways, hospitals, airports and so on. A non-place is symbolically empty.
This does not mean that these spaces are not understandable in any way.
The airport is comprehensible, but it does not allow any of the constructions
of place that makes the airport accessible as a site for human life.
Furthermost, the non-places of supermodernity are partly defined by
their signage, the “instructions for use” they offer to us, which may be
informative, prescriptive or prohibitive (as seen in subsection 2.4.1). In this
way, the signage and the information supports are part of the contemporary
landscape. The signage invades the space.
In Yarza Blache’s documentary film “Eternal sunrise”, he argues that in
the airports there are many of the keys about the future of public space.
Security issues and the ways we interrelate the space are being tested at air-
ports. Airports certainly have a user guide, where there are rules specifying
where it is possible to stay for each person, and where it is not. There are
contracts called “boarding pass” and “nationality” which determine the use
of public space.
Andy Newman spent three days and two nights at J.F.K. airport before
writing his movie review for The Terminal, and he gave us a great example
of why an airport is a non-place:
There is a reason that most people try to spend as little time
as possible in airports. At their most innocuous, airports are
profoundly neutral environments. Every element of their design
– the dull fluorescent glow, the long indistinguishable corridors,
the recirculated air – is intended to diffuse and defuse emotion.
But airports are also places of coercion, of order enforced not just
by security personnel but by the wonderfully named Tensabar-
riers, those modular post-and-strap building blocks of the two
archetypal airport configurations, the queue and the blockade.
And by design, airports afford almost no privacy. Nearly every
task of daily life – eating, dozing, hugging, talking, arguing –
must be performed in public.
Notwithstanding the presence of first-class lounges, airports

2.2. Economics of the airports 13
are pretty egalitarian places, much more so than the outside
world. We passengers are all reduced to the same class of obe-
dient toddlers. Don’t go there. Don’t tell jokes. Take off your
shoes. Take off your belt. Walk through the scanner. Hold out
your arms. Ever mindful of the threat of terrorism, we under-
stand, in a vague way, that this is all For Our Own Good. Hence
the oddly bland, bovine expressions on travelers’ faces.
But as the movie suggests, every place, no matter how seem-
ingly anoxic or antiseptic, no matter how relentlessly surveilled,
has a life of its own.
2.2 Economics of the airports
Salazar de la Cruz (2013) splits the revenues generated at airports in aero-
nautical (as of landing fees, aircraft parking fees, passenger-service charges,
ground handling fees, security taxes, and ATC charges if provided), non
aeronautical (as of revenue of on-board catering, rents for office spaces
or check-in desks, services to concessionaires, entrance authorizations to
restricted-access areas, ramp handling fees) and commercial (as of fuel sup-
plies, rents for offices, commercial concessionaires income, revenue of cater-
ing, car-renting fees, car-parking fees, advertising fees, recharges for water
and electricity to concessionaires). Some other authors join the last two
groups and use the terms commercial and non aeronautical carelessly. How-
ever, the airport city model recognizes that an airport can evolve new non-
aeronautical commercial facilities, services and revenue streams. European
airports are nowadays generating non-aeronautical revenue streams around
40–50 % of their total revenue (figure 2.1), but some US airports such as Los
Angeles target over 90 % of their revenue. According to Airports Council
International (2013a), in the breakdown of commercial revenues at airports
worldwide in 2013 (figure 2.2), retail concessions are still the main source
of the revenue with 28.9 % (34.2 % in Europe). It must be outlined that
advertising generated 4.1 % (2.6 % in Europe).
Although somebody could carelessly think that passengers and airlines
are the only customers of the airport, there are six more groups of potential
customers all of whom require a variety of facilities and services: airport
employees, airline crews, meeters and greeters, visitors who come for sight-
seeing, local residents and the local business community. Each of them
represents a different market segment with its own needs and requirements
which must be clearly understood. Frankfurt airport is a perfect example of
maximizing the revenue-generating potential.
As can be seen comparing Ciampino (low-cost only) and Fiumicino fig-
ures mentioned in section 1.4, airport commercial galleries tend to despise
low-cost passengers—who are thought to be poor buyers—. Not even one

2.2. Economics of the airports 14
*Revenues excluding ground handling and other minor revenues
Figure 2.1: Revenues at European airports in 2008–2011. Data from 2012
ACI Economics Report (via Bush and Storey (2013))
Figure 2.2: Breakdown of non aeronautical revenues in the world in 2012.
Data from Airports Council International (2013a)

2.3. Advertising 15
leading brand is found among the stores of Ciampino. Conversely, at Fiumi-
cino we can find them in clothing (Geox, Ralph Lauren, Desigual, Timber-
land), accessories (Swarovski, Prada, Bottega Veneta), telecommunications
(Vodafone, TIM, Tre) and souvenirs (Moleskine, Ferrari, Ducati); there is
even a “Luxury” and “Made in Italy” sector at Pier G.
On the one hand, there exists a positive correlation between the size of
the airport and its ability to generate revenues. Doganis (2005) noticed that
small airports tend to be almost entirely dependent on their aeronautical
revenues, while larger European airports develop an extraordinary commer-
cial potential due to concession income arising from the expansion of shop-
ping, catering, car-parking facilities, sales and, where available, increased
duty-free shopping. By the time airports are handling close to 10 million
passengers, commercial revenues usually have risen to half the revenue. Fur-
thermore, Doganis state that the proportion of international passengers is
statistically relevant to determinate the commercial revenues of airports, as
well as the degree of kurtosis (a mesure of the “peakedness”) in the traffic.
This is mainly due to the exclusive access of international passengers to duty
free shops. Another significant traffic characteristic is the business/leisure
split. While business passengers are likely to have greater spending power
they may actually spend less than leisure passengers on shopping and duty-
free goods. Finally, the use of terminal shopping facilities also increases with
the duration of the trip.
On the other hand, Mazzetto (2004) confirms in her analysis of passen-
ger profile departing from Venezia airport, this is a terrible mistake. She
maintains that there is no relation between choosing a low-cost flight and
a later purchase in the shops of the airport. Moreover, low-cost passengers
and the rest have similar tastes, similar initial purpose to buy and similar
perception of the stores. In that research, first-class high-spender passengers
have not been studied separately, though they constitute a small group.
Because of the above mentioned reasons, we will take similar attitudes
toward Ciampino and Fiumicino. And differentiation will depend on the
three mentioned factors: high-spender oriented sectors (Pier G at Fiumi-
cino), business/leisure traditional split, and passenger traffic volume (see
subsection 1.2.2), in which Fiumicino beats Ciampino by 9:1.
2.3 Advertising
2.3.1 Advertising displays
To start with, we will consider the advertising display formats existing in
the OOH market, focusing on those applying to the airport environment.

2.3. Advertising 16
Analogical
• Billboards (standard size)
– Backlighted units (1.2 × 1.8 m)
– Fences and newsracks (0.8 × 1.5 m)
– Junior posters (1.5 × 3.4 m, plus borders)
– Posters or wrapped posters (3.7 × 7.5 m, also 7.5 × 7.5 m)
– Bulletin boards (4.3 × 14.6 m)
• Spectaculars and wallscapes
• Banners
• Wrapped elements: columns, floor, baggage claim
• Bus and people mover: vehicle wraps and bus shelters
Digital
• Multimedia totems
• Video screens
• Digital billboards
There is also a miscellaneous group formed by manned exhibits: tents,
showcases, feather flags, brochure stands, human billboards and others too
numerous to mention.
Without further delay, we will define some of the above mentioned adver-
tising terminology, following the Outdoor Advertising Association of Amer-
ica (OAAA) conventions.
Junior posters are located mainly in urban neighborhoods and on smaller
roads. They are viewed by automobile traffic and pedestrians. Positioned
just above eye level, they are either free-standing units or mounted on the
sides of buildings. In some markets, select panels are mounted vertically.
Posters are located chiefly in commercial and industrial areas on major
local roads. They are viewed principally by people in automobiles or pedes-
trians and deliver exposure to residents and to commuter traffic. Wrapped
posters offer greater copy area than a standard poster. Stacked or square
posters draw attention to an advertiser’s message through a unique verti-
cal format. Sometimes these square units are available in a junior poster
configuration as well.
Bulletins are the largest and among the most impressive standard-sized
OOH media formats. Located primarily on major roads, they attract high-

2.3. Advertising 17
density consumer exposure (mostly to vehicular traffic, but often to pedes-
trians). Bulletins afford heightened visibility due not only to their size, but
also because they allow creative customizing through extensions and embel-
lishments.
Spectaculars are large and elaborate, non-standard structures custom-
designed to gain maximum attention through such eye-catching special ef-
fects as: neon tubing, fiber optics, backlit panels, hydraulic movement, video
screens, message centers, three-dimensional sculpted features, incandescent
lamps, strobes, transparencies, and various digital graphics.
2.3.2 From analogical to digital
OOH advertising, or outdoor advertising, refers to the one that reaches the
consumers while they are outside their homes, like at the airport, waiting
before boarding or within the commercial areas. The strengths of OOH
advertising are that it is engaging, it is not only cost-effective but also a
media multiplier, it has sustained awareness and it impacts on the path-to-
purchase.
OOH advertising is a small part of the media mix (figure 2.3) yet Brand-
Science Results Vault recently revealed that it is the second most efficient
medium in terms of Return On Investment (ROI), after television. Further-
more, when OOH advertising is included in an integrated campaign, it acts
as a media multiplier and improves the global ROI. Possibly due to that,
outdoor advertising is the only medium that keeps growing in every region
(figure 2.4).
OOH does not come with editorial content: the medium is the message.
The right message told with creativeness is extremely engaging. That is why
digital and mobile technologies are used in OOH. That is why traditional
OOH is moving forward to digital OOH.
In a study conducted by the OAAA, 71 % of people said they felt more
positive towards a brand that offers interactive OOH. Also, in a different
study by The Nielsen Company, 75 % of polled people agreed that OOH
gives them something to look at when they are out and about.
Nevertheless, according to Kinetic Woldwide, in Italy only 5 % of OOH is
Digital Out Of Home (DOOH) advertising—which means EUR 22 million in
gross market value—, even so, growing indicators show that it has increased
by 10 % in the last year.
A German study in 2013 (via Marketing Directo) confirmed that the
digital screens placed in open places are seen as something positive by the
survey respondents. These screens usually follow the “infotainment” formula
(information + entertainment) and, surprisingly enough, the information
about products was the part preferred by 61 % of the share, followed by the
news with 56 %. The upper and upper middle class were the ones that get

2.3. Advertising 18
Figure 2.3: Media mix January to September 2013. Data from
The Nielsen Company (2013)
Figure 2.4: Media mix variation in 2013. © 2013 The Nielsen Company

2.3. Advertising 19
Figure 2.5: Interactive screens in different Australian airports. © 2013
Kinetic Worldwide
along better with DOOH, as well as people aged 31 to 45. And more good
news, the most striking places were train stations and airports.
As we will see in the following examples, airports that have taken the
leap to DOOH can now undertake greater advertising campaigns.
Example 1: Airport digital billboards let travellers download en-
tertainment. An ad campaign for Google utilising Near Field Communi-
cation (NFC) and QR codes was rolled out by oOh!media in Australia. To
promote the Google Play store, they placed NFC-enabled digital billboards
in Sydney, Melbourne and Brisbane airports that let travellers select and
interact with content, and pay to download it directly onto their phones.
Using the long dwell time of the airport environment, they could use their
mobile device to remotely control a digital advertising panel with “tap or
scan” technology. The campaign encouraged people to tap their phone to
an NFC-triggered location or scan a QR code.
Passers-by could then download books, movies, music and apps before they
got on their plane using the free airport wi-fi and enjoy them during their
flight. (Kinetic Woldwide, 2013)
Example 2: Digital tree sculpture lets loved ones post pictures to
airport travellers. Singapore’s Changi Airport, in partnership with LG
Electronics, unveiled a “Social Tree” that allows travellers to connect with
their friends and family. The airport recently won praise and accolades,
including the Skytrax 2013 World’s Best Airport award. The Social Tree is
the latest technological addition to the airport’s already impressive offering
of first class entertainment and connectivity facilities.
The tree is a towering 8.7 m high and 11.1 m wide and is composed of 64 LG
screens that wrap around the top of the tree in a 360º fashion. The display
screens feature images of Singapore’s landscape and photos uploaded by
travellers. People can share photos and videos from their Facebook pages
to the Social Tree’s display screens. (Kinetic Woldwide, 2013)

2.4. Signage 20
Figure 2.6: “Social Tree” at Singapore Changi Airport. © 2013 Kinetic
Worldwide
2.4 Signage
2.4.1 Signage for accessibility
Signage is deﬁned as the branch of visual communication science concerned
with the functional relations between spatial orientation signs and the be-
havior of people (Costa, 1987). Signage roots in a self-teaching nature, in
which signs serve to inform, to orient, to guide, to identify and to regulate.
Further features of signage can be found in table 2.1.
The accessibility is a condition to be met by all places, processes, goods,
products and services, together with all objects, instruments, tools and de-
vices so that they are understandable, usable and practical for everyone,
safely and comfortably in the most autonomous and natural way possible
(LIONDAU 53/2003, December 2). Universal design means simply design-
ing all products, buildings and exterior spaces to be usable by all people to
the greatest extent possible. It is a sensible and economical way to recon-
cile the artistic integrity of a design with human needs in the environment.
Solutions which result in no additional cost and no noticeable change in
appearance can come about from knowledge about people, simple planning
and careful selection of conventional products (Mace, Hardie, and Place,
1996).
To apply the concepts of accessibility and universal design to the design
of airports means making sure that anyone—regardless of their abilities or
disabilities—can access the airport, move around and interact with its con-

2.4. Signage 21
Specification Features
Purpose Functional-organizational
Orientation Informative-didactic
Procedure Visual
Code Symbolic
Strategy Permanent in situ messages
Iconic language Universal
Presence Discrete, punctual
Perception Selective
Operation Automatic, instantaneous
Memory persistence Short-term memory loss
Table 2.1: Specifications of signage
tents in a natural way. That implies that PRM passengers must be able to
do equivalent (though not necessarily equal) procedures and routes around
the terminal, by themselves.
2.4.2 Method for a proper signage
A proper signage of spaces is fundamental to avoid barriers to those with
sensory or cognitional disorders, as well as to make it easier for everybody
else. The parameters taken into consideration along section 3.2 will be as
follows:
• same sign criteria all along the airport
• pictographs whenever possible
• appropriate typesetting
• contrast between block letters and background
• clear distinction between sign and ceiling
• braille transcription of texts
• acoustic signals
• tactile maps
There is a great amount of areas which require attention for universal
design in the airports, namely:
• external areas: reserved parking, adapted public transport.
• access: entrance routes, flooring, doors, internal lighting, info points.

2.4. Signage 22
Figure 2.7: Tactile map in a metro station of Rome
• horizontal movement: paths, lounge areas, doors, assistance request
points.
• vertical movement: stairs, ramps, elevators.
• sanitary areas: restrooms, locker rooms.
• special areas: check-in, security control, baggage claim.
• aircraft: stairs, seats, ambulifts, medi-lifts.
In the future we will take as a reference the handbook edited by Fun-
dación ONCE (2011) with recommendations for universal design and ac-
cessibility, and the one by Aena Aeropuertos (2012), specific for airport
accessibility. Likewise we will follow Costa (1987) when dealing with sig-
nage. In absence of any better European or Italian normative for signage,
we will refer to the Spanish standard UNE 170002. Other standards for
accessibility not directly related with signage will be cited inline.
The evacuation plans and procedures are beyond the target of this work,
since they usually require a numerical analysis and simulation based on occu-
pation and evacuation times of the buildings. Therefore, we will assume that
the emergency procedures of the airport have been correctly designed, that
the emergency signals are appropriately placed and are sufficient, including
auditory, visual and luminous alarms (UNI EN ISO 7731, ISO 23601).
The International Symbol of Access (ISA) (figure 2.8) will be used to
indicate both access or reservation for PRM. In the first case, it may be
used for buildings, groups of buildings, or elements in a building which meet
the accessibility requirements. In the second case, as of parking, the kind of
reservation must be clearly indicated.

2.4. Signage 23
Figure 2.8: International Symbol of Access

Chapter 3
Improvement proposals
I’ve never been certain whether the moral
of the Icarus story should only be, as is
generally accepted, “don’t try to fly too
high,” or whether it might also be thought
of as “forget the wax and feathers, and
do a better job on the wings”
Stanley Kubrick
3.1 Strategies
More and more airport cities are already marketing themselves to attract
new businesses, visitors or events. In France, the Paris Charles de Gaulle air-
port is now promoted by the alliance Hubstart Paris Region. In section 1.1
we already presented the vision, mission and objectives of our airport strate-
gic plan. Our next responsibility is to present the strategies which will guide
our initiatives and proposals.
As we aim at integrating advertising, signage and operative information
within the airport, the first step will be to integrate them among each other
in a non-invasive way (figure 3.1). Secondly, we will make sure that the air-
port is accessible for everyone and we will surround passengers by a modern
atmosphere, in order to make them feel more comfortable. The airport is
by definition a non-place, due to its transitory nature, but it is still our re-
sponsibility to try and humanize it (and together with it, the airport visual
identity). We will foster and divulge local culture and we will encourage
social interactions rather than human-machine ones. Illustrative examples
of what we mean by humanization of the airport are found in figures 3.3 and
3.2.
As we already pointed out in section 1.4, we will approach similarly to
Ciampino and Fiumicino, but being consequent with high-spender oriented
sectors, business/leisure proportion, and Fiumicino’s much greater traffic.
24

3.1. Strategies 25
Figure 3.1: Integration between digital advertising and operative
information at Madrid airport
Figure 3.2: A good design that advertises its own brand and humanizes
the space at Madrid airport

3.2. Proposal 1: Renewed signage 26
Figure 3.3: Poster asking for feedback about the courtesy, after a security
control at Madrid airport
3.2 Proposal 1: Renewed signage
A modern airport requires a modern signage. In order to match the renewal
of the airport described in the following sections, we are going to refresh the
signage. In the following paragraphs, we will refer to the bibliography cited
in subsection 2.4.2, while more specific normative will be met.
Although extrapolation may be done, in the following paragraphs we will
refer to the indoor signs of the terminal. It will not apply to the emergency
signs, as we will use the standard green signs with glow-in-the-dark ink. It
will equally not apply to the outdoor signs of the airport, such as street or
traffic direction signs, which will anyway match the visual identity regarding
typography and pictographs.
Material: screen printed plastic signs. We will opt for screen printed
plastic signs, attending to economical and reliability criteria. As signing is
a critical factor if we do not want passengers to get lost, we may not use a
digital screen which might become out of order. Additionally, printed signs
are cheaper in production and maintenance. Obviously, they do not permit
flexible changing of signage, but we do not expect to need changing the
directions in the terminal every now and then. In order to avoid inconvenient
glints, we will go for a matte finish.
Typography: Frutiger-based typeface. The typography selection at-
tends firstly to legible criteria, both from afar and from an angle. Then
we will match the typography with the visual identity of the airport. So

Figure 3.4: Sample of Frutiger typeface
to keep it direct, simple and accessible we will choose a sans-serif typeface.
We will consider a font in upright style and medium or semi-bold weight.
Likewise we will go for a great x-height and spacious counter. Finally, we
will absolutely avoid condensed or very expanded fonts.
As we will be developing a new concept of “Airport of Fun” (see section
3.5) we had better consider to design a brand new typeface, like done in
Cologne Bonn airport in 2003. We are looking for something similar to
Frutiger or Univers, both from the Swiss designer Adrian Frutiger. Frutiger
typeface (ﬁgure 3.4) was commissioned in 1968 by the newly built Paris
Charles de Gaulle Airport for its way ﬁnder system. Univers is used at
Frankfurt airport and at some other transit systems around the world.
Size: 14–28 cm. Size will depend on reading distance in accordance with
UNE 170002 (table 3.1). If there are space problems we can eventually lessen
the size, but never reducing it by half. Usually, we will design for reading
distances 5 to 10 m, so in this case the size will be 14–28 cm.
Pictographs: standard or internationally recognized. There will
not be more than three pictographs for each directional arrow, and the
minimum size will be 10 cm high and 5 cm wide.
Information will be presented with standard or internationally recog-
nized pictographs in ISO 7001; if need be ISO 22727 will be followed for de-
signing new ones. For public information guidance systems (location plans,
maps, diagrams, directional and location signs) we will eventually refer to
ISO 28564.
When pictographs are complemented with text, icons will always main-

Reading distance (m) Size (cm)
10 28
9 25.2
8 22.4
7 19.6
6 16.8
5 14
4 11
3 8.4
2 5.6
1 2.8
0.5 1.4
Table 3.1: Reccomended font size according to reading distance
tain the left side, exception made for directional arrows to the right, which
will maintain the right side.
Chromatic code: white figures in dark blue background. The color
selection attends firstly to a high contrast required for legibility. Then to
the visual identity. We expect to create a strong visual identity which the
airport lacks presently. The selected colors will be those used in the logo:
dark blue (CMYK = (100,100,0,13)), and white (CMYK = (0,0,0,0)).
The determinant factor for combinations of colors is the contrast. The
contrast ratio between the colors proposed is quite high 10.17:1 (calculated
for web colors after Web Content Accessibility Guidelines (WCAG) 2.0,
which is approved as ISO/IEC 40500). The reader must consider that level
AAA for web accessibility requires contrast higher than 7:1.
Most people associate blue to coolness and calm. That is very important
in spaces like airports, where there is plenty of stress and people suffering
from fear of flying. White is the color produced by the combination of all the
colors of the visible spectrum. Likewise, the airport enables the combination
of air transport with any other transportation.
Language: English and Italian. Whether pictographs would require no
captions, most of them will be complemented with text for an even clearer
understanding. If so, captions will be presented in English and translated
into Italian (we may consider the use of a lighter weight and slanted type
for translations).
Position of signs: Upper centered. The signs will be primarily placed
hanging, at 2.20 m high or higher to avoid collisions, preferably centered.

Figure 3.5: Ergonomic scanning area. © 2012 Aena
Complementary signs may be placed on the walls, in an area which may be
reached with the arms while standing up, that means 90 cm to 175 cm high,
less than 60 cm wide (figure 3.5), with high relief and/or additional braille
script ragged right to the bottom.
Dynamic information: maximum 6 characters per second. The
information screens will preferably spell out names and words, though simple
abbreviations will be admitted. Each screen will be shown for at least 2
seconds if they are static, or 6 characters per second if they are dynamic.
Illuminance level. Illuminance level will depend on the traffic and the
visual activities developed, in accordance with UNE 41500 IN (table 3.2).
The illumination will be homogeneous, and the change between zones will
be gradual (difference will be less than 140 % with adjacent zones).

3.3. Proposal 2: Multimedia totems 30
Area Illuminance (lx)
External areas around terminal 20
Corridors for personnel 50
Small stores 100
Dangerous goods stores 150
Transit areas 200
Waiting areas, customer service desks 300
Offices, check-in zones 500–1000
Security areas >1000
Table 3.2: Reccomended illuminance level for different terminal areas
How does it integrate?
One final consideration will be done. In order to release tensions of the
passengers, when setting the sign to indicate the way to the gates or similar
elements, we will also add the estimated time a person would spend to arrive
there on foot at slow speed (or using the people mover if that would be the
case).
3.3 Proposal 2: Multimedia totems
We have largely discussed in section 2.3.2 about the convenience of using
digital advertising in the airport.
If we take a look at other Italian airports, we can see that IGPDecaux
has installed its “BrandDigital” multimedia totems in Milan Malpensa air-
port (a total of 42 units), Milan Linate airport (a total of 41 units) and
Bergamo Orio al Serio airport (a total of 11 units). Those totems permit
wi-fi interaction via smartphone, such as remote control or joystick options.
The body of the structure can be wrapped for customization. Additionally,
they are equipped with webcam and proximity sensor.
But we want to go further. First, as we mentioned in subsection 2.3.2, in-
teractive advertising is much more effective and appreciated. So we will look
for touch screen totems. Apart from that, Bluetooth Low Energy (BLE),
also called Bluetooth Smart, is a wireless technology which provides consid-
erably reduced power consumption compared to its predecessor. At the end
of 2013, Apple launched iBeacon, which uses this technology to transmit an
universally unique identifier (UUID). An iBeacon deployment integrated into
advertising displays would enable a smartphone to perform actions when in
close proximity. It would trigger interactive actions such as a check-in on so-
cial media, or push notifications of items on sale and enable payments at the
point of sale. Depending on the hour, it would may recommend restaurants

3.3. Proposal 2: Multimedia totems 31
Figure 3.6: Multimedia totem possibilities. © IGPDecaux
in the nearby or shopping points, relying also on user-generated content.
It’s always better to be first to market rather than waiting to get to
market with a better product (Ries and Trout, 1993, chapter 1: The Law
of Leadership). The iBeacon is a cutting edge technology. And so it is
important to arrive early at the marketplace. In subsection 2.3.2 we observed
that OOH advertising was the most efficient medium in terms of ROI after
television. It is obvious that the impact of interactive OOH will increase
extremely for passengers, and so will do the ROI.
Finally, multimedia totems will be a key piece when aiming at integrative
solutions for airport information.
The multimedia totems will form a network which can be easily inte-
grated with ADR Security. For instance, in emergency cases, it will be
useful to display dynamic arrows showing the exit path of the terminal.
Thanks to the proximity sensors, the distributed circuit of totems would
eventually help with localizing missing children if they have their smart-
phones on. And only if the need arises to find somebody inside the terminal,
as of a terrorist, a message or a photo could be broadcast simultaneously in
every screen.
“A transmedia story unfolds across multiple media platforms with each
new text making a distinctive and valuable contribution to the whole” (Jenk-

3.4. Proposal 3: App 32
ins, 2006). What advertising must learn from transmedia storytelling is to
focus on creating a consistent, unified experience across platforms, letting
each platform do what they do best. In this sense, multimedia totems will
do transmedia advertising, integrating with the other advertising displays
of the airport.
In sections 3.4 and 3.5 we will see that they integrate with the new airport
app, but we anticipate that it may push notifications when passengers should
start walking toward their gates, so they can be relaxed all time before.
3.4 Proposal 3: App
Whatsappeamos demasiado, dormimos
mucho y follamos poco
El rincón de Floricienta. Blog
Successful marketing programs are built on trends, not on temporary fads
(Ries and Trout, 1993, chapter 21: The Law of Acceleration). Whether we
like it or not, mobile apps are here to stay. And if we do not use mobile
marketing, some other competitor will do it for us. In the case of airports,
we will be losing the opportunity to sell this service in the market, and some
companies would rather advertise themselves in some other airport.
Presently, there already exists an app which provides real-time flight
status for both Fiumicino and Ciampino, weather and accessibility informa-
tion. And it redirects to the web browser for further information like services
at the airport and a shopping search engine. The version 2.0.1 (20 March
2014) is available in English, Italian, Russian and Chinese. Nevertheless,
the design is plain and the information is both extensive and insufficient,
as a result of being unclassified. The low number of downloads speaks for
itself: 10 000 downloads in Google Play. Ten times less than Frankfurt air-
port app (“FRA airport”) or fifty times less than Singapore Changi airport
app (“iChangi”).
So, what is in “FRA airport” (figure 3.7b) that ADR app (figure 3.7a)
should learn from? First of all, it is adapted to location. Even when it is not
able to locate the user automatically, it is possible to enter the own location
via: 1) scan airport location code, 2) search location in a list, 3) choose
location from clipboard, 4) mark location on airport map. So, in every
section it highlights “Around me” services, shops or restaurants.
Regarding the ways to reach the airport, ADR app (actually the redi-
rected webpage) offers a long and tedious description of the means to go
to the airport. Instead “FRA airport” offers the most convenient means of
transport in only two clicks, while one more click leads to find even the bus
shelter in a map.

3.4. Proposal 3: App 33
(a) “ADR” app (b) “FRA airport” app
Figure 3.7: Airport apps
Maybe one of the most useful utilities for an airport app is the parking
assistant (again present in FRA airport app). It is possible to calculate the
fares for the parking times depending on the terminal and the zone. It is a
service most drivers will appreciate.
As for the way finder system inside the airport, we propose to join two
recent projects of Google Maps: “Indoor Maps” and “Business View”. Indoor
Maps permits to see the map of the airport directly zooming in from Google
Maps. Business View extends the classic Street View to the inside of the
airport.
Regarding the use of BLE technology, it would be possible to awake
the app by pushing notifications when in close proximity to the totems, for
instance. And those notifications may consist of shopping discounts, links to
the brand in social networks, games to win a prize and so on. Companies like
Winapply are already developing apps in this line, and companies like Proxee
are designing similar ideas with the combined use of BLE and ultrasound
recognition.

3.5. Proposal 4: Airport of Fun 34
The development of an app is perhaps the most integrative solution for
distribution of information. In the same window, within two clicks, you find
either the real-time flight information, shops and restaurants in the nearby,
or the map of the terminal with entrances, controls, gates and exits.
Furthermore, it encourages interaction of the users, through the same
app or combined with the multimedia totems. As we saw in subsection 2.3.2,
it is far more effective for the advertisers, which may be local stores or greater
global campaigns, and much better perceived by the users.
In section 3.5 we will study the cinema possibilities at the airport. Either
for films or for some advertisements, the audio language is a problem to be
solved. The easiest solution would be to choose a preferred language in the
app, and listen to the audio through headphones, so that every passenger
can watch the same movie in different languages.
3.5 Proposal 4: Airport of Fun
Yo en el [aeropuerto] de Singapur me
quedaba a vivir y a retozar entre sus
moquetas, sillones y plantas... Allí me di
hasta una ducha con el cacharrico de
hacerse las abluciones.
Carlos Jiménez
As we already noticed in subsection 2.1.1, airport terminals are seen by the
public, at best, as innocuous, neutral and dull environments. It is a pain
in the neck to arrive at least two hours before your flight. To do what? To
wait. To wait for the check-in, to wait for the security control, to wait for
the passport control and to wait for boarding. It is even more boring if you
are connecting flights, and may have to wait for several hours until your
ongoing flight.
Greedy marketers have already figured out a way to make profit from
such waiting times, hence airports nowadays are full of shops and restau-
rants. The path to the gates often goes through appealing stores. And,
unfortunately, it usually even works in economic terms. But it creates a
poor image of the terminal, because passengers were not truly entertained,
but forced instead. And we must remember that airports are made for
passengers, not for retailers.
Following this line of reasoning, it is absolutely intolerable that passen-
gers flying in the early morning and arriving at the airport during the night,
are compelled to sleep on chairs with uncomfortable arms or lying on the
floor, while waiting rooms keep closed. And they are awaken at 3:00 a.m. by

Figure 3.8: Tropical Gardens at Madrid Atocha railway station
security guards. It is our duty to provide a waiting sleeping room for these
passengers who usually arrive with the last public transport. Even if it only
consists of a warm room with some couches.
Always keeping people in mind, our airport marketing planning intends
to create and communicate the value of the airport as a social and enter-
taining zone, that is why we aim at creating the concept of “Airport of
Fun”. An airport in which there is a place for extensive social, artistic and
entertaining zones. An inhabitable airport.
The key to success in marketing is to find an effective way to come to
own a word in the mind of the prospect (Ries and Trout, 1993, chapter 5:
The Law of Focus). Airport of Fun is the word we want for airports of
Rome, the international gate to the city.
Gardens for social life. Hygge is a Danish word which roughly translates
as coziness and which can apply for everything: friends meeting, family time
after eating or a walk in the garden. Is there anything more peaceful than
a walk about a garden in the middle of the journey? We want to provide a
space for relaxing and hygge for the passengers, airport staff, airline crews
and even local residents.
We take inspiration in the Tropical Gardens of Madrid Atocha railway
station (figure 3.8), a microclimate of 4000 m2 of peace right at the entrance
to the AVE high-speed trains, with more than 7200 plants of 260 species.

Art in the meanwhile. Obviously, any artistic form which takes place
in an airport must be atomized. It may be repeated several times even in
the same day, but it must last for a short or flexible period. Taking this
into account, the artistic activities programmed would be divided into three
blocks:
• exhibitions: painting, photography, sculpture.
• live performing arts: music, dance, theater.
• cinema.
The first block, exhibitions of fine arts, would be local-related. In order
to integrate with the Italian and Roman culture, they would be long-term
exhibitions of Italian artists whose pieces relate to the territory. In order to
attract passengers and make them participate, a treasure game is proposed:
one photo of a passenger with blurred face will be displayed in a big screen
every hour, if they recognize themselves they will win a meal at the airport
restaurants (inspired in “Le mystère de l’enfant perdu”, a series of photos
by Henri Cartier-Bresson for the French magazine “Ce soir” in March 1937).
The second block, live shows, concerts, flash mobs or little plays of the-
ater, is oriented to both social and entertainment purposes. We try to escape
the feeling of continuous machine-interaction inside the airport, character-
istic of Augé’s non-places. Shows for children will work perfectly in this
section.
The third block, cinema, would deal with leading technologies. Short
films would be broadcast for passengers with very little time, maybe in a
different screen out of the movie theater. The movie showtimes will mainly
include last released films, often in 3D, for passengers with long waiting
times. Local residents and meeters/greeters are excluded target groups due
to the existence of a multiplex cinema in the nearby (Parco Leonardo),
except for experimental technologies like 4D films. As outlined in section 3.4,
airport app would be used to listen to the films in different languages. We
want to show an image of modernity around the airport and around the city.
Rome is not only the antique city.
We are taking inspiration in London Heathrow airport, which hosts one
or two special events every week, from book signing to live music. We
are also taking inspiration in the legendary disco Dorian Gray at Frankfurt
airport in the 80s and 90s. But above everything we are taking inspiration in
Singapore Changi airport, with its interactive art rooms (using woodblock
rubbing, a popular Singapore artform in the 50s and 60s, or learning more
about South East Asian and Peranakan cultures through Asian symbols),
the Aviation Gallery (multi-sensory zone with hands-on interactive displays
about “on-the-ground” activities), movie theaters (one is H24, the other one
is 4D), live concerts and more.

Figure 3.9: Interactive board game exhibition at Singapore Changi airport
Figure 3.10: Baby care room sponsored by Chupa Chups at Pulkovo
airport. © Northern Capital Gateway
Sponsored zones for entertainment. Finally, we will also provide en-
tertainment for everyone. This will be developed through bartering with
companies. For instance, sponsored zones can be set up for video game
companies free of charge. These companies would present a preview of its
new products for a period of time, but when the time is over they would
leave their screens for the use of the airport. Trade fairs are suitable to be
hosted at the airport. Thinking of the little ones, playgrounds and nursery
service are a must.
We are taking inspiration in St Petersburg’s Pulkovo airport, whose baby
care room (ﬁgure 3.10) is sponsored by Chupa Chups company (controlled
by the group Perfetti Van Melle) and has a game zone and a kitchen which
lets parents reheat food for their children.

3.6. Action plan 38
Airport of Fun is the most ambitious proposal that we have devised so far.
As a matter of fact, it integrates in each of the guidelines given by the
strategies of section 3.1 approaching brands to passengers in multiple ways.
This proposal is liable to be used combined with the new developed mobile
app, and in this way it would also embed practical information.
This proposal means flying and fun for everyone, from kids to elderly
people, including PRM passengers. Airport of Fun may also be seen as the
way in which the airport takes responsibility for its impact on society, what
is called Corporate Social Responsibility (CSR). It is explicitly fostering
social, artistic and entertaining activities. And, above all, it makes the
airport friendly.
3.6 Action plan
In section 1.1 we have already presented the Vision, Mission and Objectives
of our strategic plan at the airport. Then, in section 3.1 we presented
the Strategies. There is only one more letter to reveal the key word of our
strategic plan, VMOSA, and it is “A” for Action plan. Community Tool Box
is an online learning resource about community practice, whose guidelines
will be followed by us to design our action plan.
In tables 3.3 and 3.4 we describe schematically when and how our propos-
als will be implemented to accomplish the objectives, in airports of Ciampino
and Fiumicino respectively, in a three-year period.
Step 1. Proceeding chronologically, we will start with the updating of the
signage, something not very resource consuming to state our intentions and
our visual identity.
Step 2. When the previous step is accomplished, we will acquire 70 mul-
timedia totems to set them on key positions in two months (50 at Fiumicino
and 20 at Ciampino). Then, we will set up the last 100 units during a six-
month period. The split in two phases does not only respond to financial
criteria. It will eventually permit us to adapt the final quantity of totems
depending on the feedback received.
Step 3. With the totems fully operative, it is the time for the mobile app.
The designing of the mobile app takes a lot of time and plenty of money.
The app must integrate with the BLE technology of the totems, as well as
work together with ADR Security and ADR Assistance. We expect to have
it working one month before Holy Week, so as to test it before the launch
during the high season.

3.6. Action plan 39
Action step Date to be completed Potential barriers
Modern signage Mar 2014 Resistance to change
Multimedia totems
(20) May 2014 None anticipated
App Mar 2015 Integration with totems
Table 3.3: Action plan for Ciampino
Action step Date to be completed Potential barriers
Modern signage Mar 2014 Resistance to change
Multimedia totems
(50) May 2014 None anticipated
(100) Nov 2014 Too many totems
App Mar 2015 Integration with totems
Airport of Fun
(live shows) Dec 2015 Placed in private cafés
(gardens) Apr 2016* Extension required
(exhibitions) Apr 2016 None anticipated
(sponsored zones) Jun 2016 Barter with companies
(cinema) Sep 2016* Extension required
(* subject to airport expansion plan)
Table 3.4: Action plan for Fiumicino

3.6. Action plan 40
Step 4. Having accomplished every previous step, time has come to set
off our five-star project at Fiumicino: the Airport of Fun. Building up this
concept requires a modern airport with more than 40 million passengers
to be effective. We will start programming a calendar of live events which
will take place in cafés and restaurants of the airport. Some time later,
when boarding areas A, E, F and J, will be constructed (according to the
airport master plan), we will construct the indoor gardens. Hopefully, we
can program an inaugural photographic exhibition in the gardens when they
are finished, although exhibitions will soon move to some other area inside
the airport. With such an appealing airport, it would be a piece of cake
to barter with companies about their presence in it and we will soon have
the sponsored zones. Our ambitious plan reaches its highest point with the
construction, after enlargement of the present Terminal 3 or the construction
of Terminal 4, of a great modern cinema inside it. Passengers will never want
to leave the airport, and tourists will visit it as one more sights of Rome!
Investment
It is beyond the limits of this work to present a detailed budget of the
action plan. We do not pretend either to elaborate a price list for the new
media kit. Yet, we anticipate that the total investment estimated for the
whole period is over EUR 20 million. It might sound expensive, or even too
ambitious, but without adequate funding, a good idea will never get off the
ground (Ries and Trout, 1993, chapter 22: The Law of Resources). With
a fully redeveloped airport, the ROI for advertising will substantially rise,
and consequently the advertising income will pay off within just a few years.

Chapter 4
Conclusions
Incorporate the works of the masters, the
tools of artists and the perspective of
engineers
David Snider
A series of proposals were presented in chapter 3 designed both to increase
the commercial revenue and to enhance the passengers’ perception of the
airport. Among the sundry proposals that came out through brainstorming
we just presented the four ones which were more feasible, or which were not
yet implemented (a new indoor digital big screen was settled at Fiumicino
in July 2014, during the writing of this thesis). The reasons for selecting
our proposals are the following:
• Right now there is no corporate visual identity of ADR. Developing a
strong visual identity, also through signage (proposal 1), will provide
the organization with visibility and recognizability before its employees
and before the external stakeholders.
• Interactive and digital advertising is the most eﬀective way of OOH ad-
vertising nowadays. Fiumicino airport already has some digital totems
and they are planning to install some more. Our research conﬁrms that
it is an excellent idea (proposal 2).
• Mobile apps (proposal 3) reach the user at a distance of 40 cm. They
are no longer the future, they are the present, hence using and integrat-
ing them appropriately might determine our position in tomorrow’s
marketplace.
• To achieve the title of “Airport of Fun” (proposal 4) is a very ambitious
target that only strong airports might attempt to. But in fact, there
are already some Asian airports which may deserve this consideration,
namely Singapore Changi airport and Seoul’s Incheon airport.
41

42
We firmly believe that each proposal, applied according to the action
plan of section 3.6, would produce great benefits to the airport. Future
research must be conducted to elaborate a detailed economical budget and
to foresee how long the investment would take to pay off. Yet, we must
remember that the results of marketing programs only become apparent
over an extended period of time (Ries and Trout, 1993, chapter 11: The
Law of Perspective).

Appendix A
MATLAB code
A.1 Script for prognosis of passenger traffic
This is a function created ad hoc to calculate and plot the traffic passenger
prognosis. The input arguments received are:
• x = years elapsed with recorded traffic data (1 × 10 array). Example:
x = 2004:2013;
• y = number of passengers (Mpax) by type (5× 10 array)
• legendtext (optional argument) = type of passenger traffic, for the
captions (example: 1 × 5 cell array). Example:
legendtext = { ’Total’, ’Domestic’, ’International’, ’EU’,
’Extra EU’};
1 %Function to calculate a 10-year traffic prognosis from ...
past years (input vector 'x') traffic data (input ...
matrix 'y') rowed by type (input cell array 'legendtext')
2
3 function prognosis3(x,y,legendtext)
4
5 %Axis xp = year (prognosis)
6 xp = linspace(x(1),x(10)+10,20);
7
8 %Check number of lines to draw
9 numlines = size(y,1);
10
11 %Reset color order (max 7 colors, add more if needed)
12 plotcolors = { 'k', 'b', 'g', 'r', 'm', 'c', 'y' };
13
14 %Create figure
44

A.1. Script for prognosis of passenger traﬃc 45
15 figure
16 hold all
17 hp = zeros(numlines,1);
18 for i = 1:numlines
19 c = polyfit(x,y(i,:),1);
20 hp(i) = plot(xp,polyval(c,xp),plotcolors{i});
21 plot(x,y(i,:),'x','Color',get(hp(i),'Color'));
22 end
23 hold off
24
25 %Create figure add-ons
26 grid on, xlabel('Time (Years)'), ylabel('Passengers (Mpax)')
27 set(gcf,'Position',[0 0 800 480])
28 if (nargin>=3)
29 legend(hp, legendtext, 'Location', 'NorthOutside', ...
'Orientation', 'Horizontal');
30 end
31
32 %Save file
33 set(gcf,'PaperPositionMode','auto')
34 %print -dpng ....thesisimagesprognosis.png

Appendix B
Airport terminal maps
B.1 Map of Ciampino airport terminal
46

B.2. Maps of Fiumicino airport terminals 48
B.2 Maps of Fiumicino airport terminals
(a) T1 departures

(b) T1 arrivals

(c) T2 departures

(d) T3 departures

(e) T3 arrivals

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