Architectural Branding

"

#"

Architectural Branding

Liam Rollings
Dissertation
Student # 09021495

"

$"

"

%"

Contents
Foreword......................................................................................................7 What is a brand?....................................................................................11 The business of branding..................................................................15 What is an architectural brand?.....................................................19 Brand classification.....................................................21 Recognition......................................................................25 Advertising Marketing Sales.............................31

What significance do these have?...............................................35 Negative consequence of architectural branding..............39 Summary...................................................................................................45 Conclusion................................................................................................47

"

&"

"

'"

Foreword
What is the distinction between iconic architecture and a visual statement? Do we as a generation now use architecture as a way of swaying global consumerism, or is architecture still just a symbol of status? Has architecture ever really been about functionality and meaning, or is it simply about symbolic grandeur or social position? From the imposing gothic cathedrals to the castles and manor houses of past Kings and Queens, these icons of wealth and power do one thing, they represent status. Architecture has not changed in this vein and possibly never will, but is the driving force behind architecture still about influential prominence. In todays world the skyline is littered with buildings, jostling for space, seemingly demanding our attention with constant subliminal messages of branding to draw

us into religion, shopping or politics. In this, the fast track of the 21 century we are bombarded with instant minute
st

by minute messages through the internet by a celebrity driven culture that demands we keep up with the gossip, spend more and look fashionably perfect. This is fast becoming our new economic religion and can todays architecture avoid the influences of these socially driven values? When a building is conceived, what is the main purpose of the design? Is it the concept of the building that is driving the project or is it ego? This is a world where personal and financial gains appear to be winning the battle over morality. Are we as architects designing for ourselves or the client? Or is the form of the design being dictated by other market influences and global fashion trends? In this dissertation I aim to explore the reasoning and means behind iconic architecture and branding, along with the effects that architectural branding has on society. In this celebrity driven culture that we live in, it is inevitable that somewhere along the line every industry will be drawn to the ideals of wealth and fame, like a moth to a flame, we cannot avoid it. It is simply a flaw in our human characteristics; the need to satisfy our own ego. So what effect does this culture have on the world we leave behind for future generations? Is it naive to think that one person

seduced by the grandeur of the celebrity culture could have such an underlined impact on our culture, society and industry? Unfortunately for us, this naivety is justified. It only takes one outspoken person, one moment in politics, one statement on a TV show or a single comment on a social media site and thousands of people are inspired, motivated or in some cases angered, starting a chain reaction of events that could end up dictating fashion trends, public opinions, funding or political policies. Through the simple intervention and actions of media influence such as newspapers and magazines, coupled with the internet and social media sites, can ultimately make or break a project. This is a world where the written word and symbology can be the ultimate power. Unfortunately for us, the media can hold a powerful sway over social and political fashion trends. This ability to reach out to an international market at the click of a button has radicalised the architecture industry. Coupled with the development of the internet, social media and global fashion trends, the architecture industry is taking on a new form, the form of global marketing. The idea of architecture being used as a tool to represent an ulterior motive can be seen thought-out time and on every street corner. The pyramids for example, were built in homage to the pharaohs to represent their wealth and power as an

iconic image. The coliseum in Rome, was marketed by an emperor as for the people but it was ruled by politicians and wealth for the sole ambition of control. It represents a power over the masses mentality.

Architecture has recorded the great ideas of the human race. Not only every religious symbol, but every human thought has its page in that vast book.
Victor Hugo The current global market trends are dictating the visual form of architecture but to what extent? One of the many areas of dominating trends is that of the corporate image. This financially driven industry is dictating architectural forms, concepts and is even influencing the financial climate of cities and nations. These outside market influences can however, all fit under one, somewhat complicated, topic known as architectural branding.

10

So what is a brand?
The brand, as an entity is a complex labyrinth of subdivisions, influences, interpretations and descriptions of a brand as a singular form. From the perspective of a business a brand is not simply a product; it is something much less tangible. It is a representation of a meaning. It is a symbol of another ideal or agenda. What makes something a brand is customer interaction and a subconscious personal experience with a product. It is the association of a symbol to a company. Brands are made from the stories told by the customers. Brand stories have plots and characters, and they rely heavily on metaphor to communicate and to spur our imaginations A brand is an
1

association of someones gut feeling about a product or a place, As brand expert Marty Neumeier writes When

Douglas B Holt, How Brands Become Icons: The Principles of Cultural Branding (Boston, Mass: Harvard Business School Press, 2004).

11

enough individuals arrive at the same gut feeling, a company can be said to have a brand
2

A brand is the emotional and psychological relationship you have with your customers. Strong brands elicit thoughts, emotions, and sometimes physiological responses from customers. The simple image of a logo can elicits an emotional response. Your brain automatically makes a connection or an association about a company.

A brand isnt a brand to you until it develops an emotional connection with you.
3

Logos themselves are however, not brands, they are merely representations of brands. They are the entry point and the shortcut to the brand for your mind. Brands are not concrete; they are the thoughts, feelings, and psychological relationships between a business and a customer. And your brand is the foundation of all your marketing activities.

brands speak to the mind and heart

2 3

Source; Anna Klingmann, Brandscapes (MIT Press, 2010). Daryl Travis, Emotional Branding : How Successful Brands Gain the Irrational Edge (Crown Business, 2000).

12

A Brand is a cornerstone, it is the first block set in the construction of a solid structure. It is the most important piece of any masonry structure because all other stones will be set in reference to this stone. A brand is the blueprint of the customer experience, it is what describes a company, and it defines advertising and promotional activity. A brand determines the position and strength of an entire marketing framework. The marketing cornerstone must be plumb and level. In other words, a brand must represent the truth about a companys product or ambition.

In a copycat economy hype will not sustain a brand.

The benefits of a branding a business can yield both internal and external rewards. Externally, it creates an identity that resonates with customers and forms

emotional relationships with customers. This connection is what makes a brand and is important because people dont buy products logically, they buy with their emotions. Within the business, a brand serves as an internal compass of focus. If a business is branded clearly and represents the core values, it can have a positive influence on staff giving them an understanding of what the

Alina Wheeler, Designing Brand Identity: A Complete Guide to Creating, Building, and Maintaining Strong Brands, 2nd ed. (Wiley, 2006). 5 Oren Harari, Break From the Pack: How to Compete in a Copycat Economy, 1st ed. (FT Press, 2006).

13

company is about. A brand is a businesss identity. It represents the heart and soul of a company.

14

The business of branding

A business project is split up into a number of sub divisions including Finance, Marketing, Sales and Advertising. These main groups all determine the success of a project. Financially a project can achieve anything with the right backing and support, Dubai being a perfect example of this. The financial clout behind the birth of this new city gave rise to a new, self proclaimed, power in the Middle East. The finances and power were driven by an ambition to achieve an iconic city status through the use of architecture, what they achieved was a city and cultural brand, an instant association with wealth. At less than 50

years old, Dubai is remaking its own image faster than any other city in the world. Nearly a quarter of all the worlds construction cranes are hard at work here, leaving the beholder with plenty of iconic architecture for sightseeing. In a world where the media controls the vast
6

Extract from - Iconic Dubai Architecture | Sightseeing in Dubai | Discover Dubai | Destinations & Offers | Emirates, n.d.,

15

majority of opinions, this is a projects main route of marketing and advertising. All of these principles are covered by the defining title of branding and they have far deeper connotations than the obvious business definitions. Branding takes many shapes and forms, we see it every day from small scale logos on the side of your pen, all the way up to food and packaging giants, to city and nation branding. The power and subtlety of branding effects us in ways we do not even realise, subconsciously choosing one identical jumper over another in a shop simply because of a brand name or logo. Its in the paper that we read every morning with our generic brand name cereals. Even lifestyles are placed into classes, branding us with a class distinction based purely on our financial background. But where does it stop? Or perhaps the true question is will it ever stop? Imagine life without logos, symbols or names. We would live in an uncompetitive, faceless world with everybody and everything the same. Arguably, architecture can be described as an interpretation of tastes and styles, Therefore it is the architects role to determine the style of the client and turn that style into a tangible architectural brand product. Or sell them on a project of the architects style, either way;

http://www.emirates.com/english/destinations_offers/discoverdu bai/sightseeingindubai/iconicdubaiarchitecture.aspx.

16

an architect is dictating the form of the project. The question is, what has influenced the architect? Is a project truly the idea of the client or architect, or have they been influence by market trends and fashion? A sentiment echoed by architectural critique Stephen Bayley in 1951, ''Where do architects and designers get their ideas? The answer, of course, is mainly from other architects and designers, so is it mere casuistry to distinguish between tradition and plagiarism?

There are no new ideas. There are only new ways of making them felt. Audre Lorde

17

18

So what is an Architectural brand?

An architectural brand is a much less obvious level within the field of architecture, one that has been used throughout the ages but it has never really been the focus of the design until recent years. It could be used consciously or subconsciously, only the architect will truly know. Architectural branding can be used to represent or communicate a message through the medium of architecture. It can also have many other different connotations. It can be used to classify a type or style of architecture, it can be used to portray a message, it is a representation of a deeper meaning or it can also be used for financial or advertising benefits. The list of possible architectural brands is endless. It can incorporate such design eras as Classical, Ancient Greek, Roman, Herodian, Early Christian or Byzantine for example. But an architectural brand could also be one of the many movements that inspired different art and architecture styles such as Expressionism, Pop Art,

19

Baroque, Realism, Bauhaus, to name but a few. The movement itself is not the brand. To put it in a business perspective, the movement is the company and the style is the brand. It is the representation of an idea or the thought and our instant association or recognition of these distinct styles. There are many different levels of architectural branding which can be grouped under the following; Classification Recognition Advertising/Marketing/Sales

20

Brand classification
We use classification on a daily basis to group everyday items and object. This act of classification incorporates many different architectural styles and movements. You do not need to look any further than the array of books on display at the library to see how this classification of architecture is evident. The shelf is littered with book titles such as The Hindu Temple, Indian Temple Architecture, Synagogues of Europe, Jewish Architecture, French gothic architecture of the 12 and 13 centuries, the list
th th

goes on. But the commonality between all of these books is that they have simply branded whole religions, countries, styles and even eras under one title or heading. Surely there are far more distinguishable features between buildings such as Notre-Dame Cathedral in Paris and Chartres Cathedral? Or is it just commonplace to blanket such distinguished architecture under one simplistic title? The opening line in the book French gothic architecture of the 12 and 13 centuries seems to
th th

agree, Every age of Architecture can be characterized, on rather a elementary level, by a few obvious and fairly constant features

21

This grouping of architectural eras and movements is not done out of disregard for the style itself, it is merely a human characteristic to associate similar styles and eras. On a daily basis our mind is bombarded with an overload of sensory information. These categorisations are branded under one title so that the information is easily processed at a psychological level. The brains association with these architectural products are what produces the emotional association with a building. To put it simply, we label everything so that we can understand it. Architectural branding can also define more than just a culture, it can define a community, whether it is a building such as Le Corbusiers Lesprit Nouveau or Peter and Alison Smithsons Robin Hood Gardens. Both of these similar housing schemes (the latter a homage to Corbusiers work) created a community within the confines of their brutalist structure, their sky-paths and social areas centred on a lifestyle while bridging the issue of mass social housing. Le Corbusiers design was considered radical at its first inception but it went on to set a standard for other social housing schemes to follow. It gave social housing a brand style, one that now appears to be all too difficult to move away from. We look at a block of flats and instantly associate it with poverty. It is the same associations and prejudice conclusions that we make when looking at any form of house. The

22

associations that we make are how we emotionally respond to different social situations. We link feelings and memories to every object that we see, touch, hear, weather that is consciously or subconsciously. It is the basis of the human memory. But architectural branding can have a far deeper meaning than simply a term used to categorise building styles and architectural tastes. It can not only characterise a persons lifestyle or personality but it can define a city, give rise to a nation, empower an era or immortalise a civilisation. The impact that an architect has, can echo for a lifetime. The simplest line on a page could affect the lifestyle of one person or those of a whole civilisation. So has architecture realised its full potential? The philosophy of an architect must always be questioned, not only by the client but also by the community in which they work. For it is this philosophy that can ultimately alter the very foundations of a projects community and lifestyle. A project starts as simply a vague idea, a spark of creation in the mind of the architect. Where that moment of inspiration comes from and where it goes next is the key turning point.

23

24

Recognition
The concept of branding works on many levels and can potentially benefit everyone involved in the design of the project. A brand design is conceived to make the product or company instantly recognisable, such as a logo, a word, or a slogan. But when translated into architectural branding those potential benefits could incorporate both the client and the architect. Every architect has their own design style and some buildings stand out from a crowd. There are already hundreds of architectural brands in todays society. An architect themselves can be the focus of a famous architectural brand, currently a lot of these architects have been categorised and branded with the name Starchitects, examples of well known starchitects are names such as Zaha Hadid, Frank Gehry, Norman Foster, etc. The works of these star architects are not only created to make a name for the client but they only boost the market value of the architect as well. The designs that these architects, and all other architects, produce are designed with their own style, some are however, more

25

distinctive than others. So not only can a building work for the client but it will always have hidden and quite often public benefits for the architect. One example of architectural branding working is the award winning BMW Plant in Leipzig, Germany by Zaha Hadid. Not only did this project win international acclaim for BMW but it only added to the brand name of Zaha Hadid. But we must question, where the architects loyalties reside? Recognition for their work can also prove hugely beneficial for themselves, producing more work and global advertising for their own brand. It is a fine line to tread, but one we all must walk.

All architects want to live beyond their deaths Philip Johnson, 1906, American Architect and Theorist A lot of architectural projects such as the Shard by Renzo Piano and the Burj Khalifa, The tallest building in the world, are designed largely to have an impact on the market and to attract new customers under the illusion of grandeur. They cause the brand or company to become instantly recognisable and work as architects and company signatures. Every architect has their own distinctive styles; this is what separates every architect in this hugely competitive industry. These styles are the basic fundamental keys to the architect creating a brand association and becoming a recognisable architectural brand. But competition within the architectural and

26

marketing industry is great that architects and businesses are constantly pushing the boundaries of radical design styles in order to grab the attention of the consumer. The effects that this market has on the project are so influential to the architect, the client and the community that global fashion trends of architectural styles can influence, define or dictate the project before it has even started, nobody wants to pay for a style that is deemed to have gone out of fashion. These attention grabbing, wow factor designs and architectural products then interact with the market on a personal basis, with images and associations becoming a household entity; they become part of peoples everyday lifestyle thus forming the base for subliminal messaging. These images and associations are creating the personal link with the public, the connection with a product or a building that is part of everyday life; whether that is simply walking past the building, a place of working, shopping centres, seeing it on the cover of a magazine or even in the background of a film. It becomes an association with an emotion, a place, a feeling or a memory. The emotion that a woman can feel when shopping becomes associated with a shop where she found a bargain or a nice pair of shoes, thus forming a positive emotion towards that shop. Most office workers feel a wave of anxiety when presented with the image of a dimly lit office or work space, the fact that nobody likes to work, causes a

27

negative association with buildings connected to our places of work. These subliminal connections that our brain automatically creates forms the psychology behind a structure, it is what gives us the positive or negative association. With the knowledge of these associations, can architecture be used as a tool to tailor and create an emotion that benefits us in different ways?

"A building is a kind of memory [...] that provides a lasting framework for one's own actions and for those of others."
- (A. Lang, 1985)
7

Images, words and symbols also become instantly associated with a brand. The brain subconsciously associates images, words, sounds etc with places in our memory. You can see the outline image of the Eiffel tower and instantly recognise and associate it with Paris. The same can be said all world landmarks. These buildings and landmarks work exactly the same way as a brand does. It may not have been designed originally to work as a countrys architectural logo but it is the brains way of processing these images, to attach them to a memory, an emotion or an association. Many countries already have the luxury of a brand building firmly established in the mind of the global market. Countries and cities such as Paris, London, New York, Sydney to name but a few.

Source - Architectural Psychology, n.d., http://leoncolor.com/architectural_psychology.html.

28

These cities can be recognised by simply the recognition of an outlined image of a building. Most of the time you need not mention the building and you already know which building is associated with Sydney and have pictured it in your mind? The associations accredited to these buildings are not simply just our mind processing the information and telling us which country or city that building belongs to, Our brains are far more complex than that, they can also associate what a building represents; the brand of hope, freedom and equality that is emblazoned across the statue of liberty, the Taj Mahal represents romance and the Chrysler building which represents business dominance. This subtle but integral part of architecture is a catalyst for architourism. Many countries that do not have an architectural logo are now enlisting the services of these starchitects in order to try and create their very own international architectural brand. Dubai being the most obvious example of a city or country looking for a trademark building. Their answer to their lack of icon was to produce as many as possible, finally arriving at their brands logo. The Burj Khalifa, the worlds tallest building.

Architecture today is responsible for a great part of the tourism industry. Egypt is represented by its pyramids, India by the Taj Mahal and France by the Eiffel Tower.
8

Charles Jencks, The Iconic Building Is Here to Stay, City 10, no. 1 (April 2006): 320.

29

A lot of buildings have been specifically tailored to the clients specific product. By doing this, it can add a new dimension to the building thus adding more value to the design for the company and the architectural brand. They are creating a three-dimensional advert. Structures have and will ever increasingly be designed to mirror the companys core values and beliefs such as high tech structures, competitiveness, etc. A building is not just a shelter anymore, it has become an advert, it is a concrete billboard on a high street or towering above a city skyline.

30

Advertising/Marketing/sales
The depth at which branding covers, affects all walks of life. Architectural branding is not just a logo for city or a nation. It is advertising, it is a lifestyle, and it is a movement or a moment in time. Buildings that communicate a message are the continuation of the centuries-old tradition of prestigious architecture. Decorative columns and architraves, bell towers and domes, the impressively decorated palaces built by the nobility in bygone centuries . The Bauhaus is
9

fundamentally a brand, so is the ideas behind Gaudis Gothic Sagrada Familia, Michelangelos Sistine chapel, Apollodorus of Damascus Pantheon, Rome. They are all instantly recognisable and each of these projects represents just a tiny percentage of brands that have echoed throughout time. They all fit within a brand category or have inspired or created their own brand. It is however, not the work itself that is a brand but the idea; it is what the idea represents that is the brand. The Sistine

Gernot Brauer, ed., Architecture as Brand Communication: Dynaform + Cube, Bilingual. (Birkhauser Verlag AG, 2002).

31

chapel is a brand because it is Michelangelos signature work. The Sagrada Familia is a brand because the powerful ostentatious designs and Gaudis use of nature as an influence to his work. All of these masterpieces of design are extreme examples but they are also the perfect example of architectural branding working on the level of advertising, marketing and sales simply because they are known today. If they were not known today then the brand would have failed. If you have ever been to Rome and tried to go and see the Sistine chapel, or Barcelona and tried to get into the Sagrada Familia you will understand the value of the marketing and to an extent, the sales value of these places. The financial impact that these major tourist attractions have on the local and national economy is hugely beneficial for those able to gain from the situation. The local restaurants, vendors, city infrastructure all benefit from the architourism value of these buildings. These buildings are, however, all examples of how a piece of world famous architecture can work on different levels but what about the everyday building that we see? The significance of a recommendation is paramount to the value the location. How many people have gone on holiday to a destination because the picture in the brochure looks nice, or gone to a shopping centre because they were told by a friend about a nice shop?

32

These subliminal associations, emotions all form the same association as a brand does. An advert is not always as obvious as a billboard, poster or commercial. We are all walking advertisements; a businesss greatest commodity is a happy customer.

33

34

What significance do these have?

So in this world of market and fashionable influence, it is not impossible to imagine that one architectural project could potentially change the course of modern architecture. One museum project in 1997 had arguably the biggest impact on architecture over the last 100 years. A project based in a once struggling industrial area in northern Spain, transformed not only the cities struggling economy but transformed the ideas of modern architecture could achieve. The Guggenheim in Bilbao by Frank O Gehry opened the door and spawned the start of the modern day architectural race to fame known as Iconism. The argument that iconism is just another fad, or a movement destined for a slow death is, however untrue.

Perhaps, like art nouveau which flourished briefly at the end of the 19th century, the icon has become ubiquitous

35

just as it is about to vanish.

10

The concept and idea of

Iconic architecture, has been, and always will be around. The simple difference is that we now live in a world where the whole planet is connected by the click of a button and opinions can be heard across the globe in real time. The difference between the iconic design of past and present is simply the ability to advertise to a global market. Frank Gehrys Guggenheim is the perfect example of how architectural branding and iconic architecture works on a deeper level. Gehry was approached by the client, Thomas Krens, to participate in a competition for the designing of a museum based in Bilbao. The project was to be judged by and overseen by local government officials and the museum director and a curator. The brief stated that the building had to embrace an existing bridge over the river, and be equally hospitable to a 200tonne Richard Serra sculpture and a Picasso drawing
11

His Flamboyant design received a mixed reaction from critics and the Media, Critics dont have to say Yes, but; its all right to say something is really good. You dont have to qualify it the positive reaction from the press and the
12

10

Extract from Can We Still Believe in Iconic Buildings?, n.d., http://www.prospectmagazine.co.uk/2005/06/canwestillbelieveini conicbuildings/. 11 Source - Thames and Hudson, Architecture + Process, in Gehry Talks, n.d., 22. 12 Herbert Muschamp, New York Times Magazine (n.d.).

36

negative comments from the critics only added fuel to the fire of public interest in the project. With this huge public and media interest surrounding the project, it only added to the projects success and the financial success, due to the cities rise in architourism. People flooded from all over the world to a, pre Guggenheim, Struggling industrial city. Out of four million people from around the world who visit this structure every year, at least 40 percent say they are mostly coming to experience the architecture . He
13

gave the city a massive financial and moral boost, something that is commonly known today as the Bilbao effect. The innovative architecture of the building is so

unique, compelling, and dazzling that the place is in and of itself an attraction, regardless of what is presented in the museum. Gehry not only produced a museum for
14

the city to cherish but he produced one of the most famous icons in recent history, a turning point in architecture, he gave birth to a new architectural era. He gave Bilbao the city logo that it was longing for; this realisation changed the perspective opinions of architectural critics. Architects and politicians saw the success that Gehry achieved with this design and decided they wanted a piece of that fame and wealth associated.

13

Source Marc Gobe, Emotional Branding, Updated and revised ed. (Allworth Press,U.S., 2010). 14 Marc Gobe, Emotional Branding, Updated and revised ed. (Allworth Press, U.S., 2010) pg 117.

37

So what else came from this seemingly simple museum project?

38

Negative consequence of architectural branding

Since the conception of Gehry's Guggenheim the architecture industry has been consumed by a barrage of sensory stimulatory designs and concepts. Each one fighting for the title of the new in design, they are a reply to Gehry, anything you can do, I can do better. These types of mentalities are defining and dictating our future. These ideals of fame and cash hungry architects have driven us towards this brand of iconic architecture. But has this left us with a generation of white elephants? Are we surrounded by buildings that do nothing but say look at me? Unfortunately the blame cannot be placed in one location. In this self obsessed, image driven society that we live in, we are driven by a culture to always look good, stand out from the crowd, striving for fame and beauty. This is the way of the world, the way of marketing and advertising. Beauty is a brand. But most importantly, it is where the money comes from. It is simply conformity towards a vain society in the fear of being left behind.

39

In the race and competition for global recognition, in not only the business market but also the architectural industry, there is a significant danger that our streets and skylines could end up leaving us with a nation of ostentatious, meaningless visual statements with these ambitious designs leading to a disregard for the masses at street level, the over stimulation of architectural brands and associations causing a chaotic environment. There is a fine line between a good piece of architecture and a superficial visual statement; one can argue that a lot of these statement designs are today being branded as icons simply because it is a new shape. But perhaps it is time to re-appropriate the word iconic for the purpose for which it was originally intended, as a way of recognizing well-established architecture which is beautiful, functional, a welcome adjunct to the social and physical environment, and a worthy testament to the culture of its time. Architecture is about building for the future, so in a world where the fashion changes as often and as quickly as the wind, will we end up with buildings that represent a bygone era or fashion trend? Or is it time to sit back and evaluate the legacy that we are leaving behind in these fragile times of financial hardship and environmental insecurity? We face a hard realisation that we could potentially end up with a high street full of expensive, redundant relics of failed businesses, concrete billboards

40

of unsuccessful brand images. It is a question of how far do we allow physical architectural branding go? In previous architectural eras and movements, the constraints for architectural design where restricted by hierarchy, restrictions and legislations were imposed to control the limits of the architects originality. Now each building has the freedom of expression, therefore, The

architecture scene starts to look like a jumble of advertisements, with each building shouting for attention but, overall, looking similar
15

The corporate image is solely geared towards financial gain, so where do their priorities lie. Would they rather an internationally recognisable new headquarters or are the conditions of their workplace and staff the priority? In a financially driven economy the architect has a responsibility to prioritise clear coherent spatial designs over pretentious schemes, the pursuit of a clear quality in architectural design. However, when the design focus is global recognition, this is not such a simple task, for this is where personal ambition always takes over in one shape or form. Whether this recognition is that of the company or the architect or an even bigger entity. There are always subliminal influences taking control over the project. The danger is the morality of these demons, are they (the

15

Extract from Architecture In Development - News - Architectures Evil Empire?, n.d., http://www.a-i- d.org/news.php?id=20.

41

architect or client) driven by ego, power, money, fashion trends, to name but a few. These factors are true of all architecture but they become more of a concern when faced with the idea of businesses using architecture just as a billboard. Is architecture being used for the right reasons?

A doctor can bury his mistakes, but an architect can only advise his clients to plant vines.
- Frank Lloyd Wright

42

These designs could potentially end up being expensive gambles that have a huge impact at community level where it really matters. For it is the consumers who influence the success of a building. A building could receive international critical acclaim but if the consumer does not like it they will simply not use it. They will produce a negative association with the brand. Nobody wants the association of an ugly building on their doorstep.

Playful designs might seem fun initially, but every individualist gesture only adds to the spectacularisation and emptying-out of architecture. Each building is extravagantly special, yet they all seem the same.
16

16

Extract from Architecture In Development - News - Architectures Evil Empire?.

43

44

Summary
There are many different factors and sub layers in the complex topic of architectural branding. Many of the factors that dictate the outcome of a project are beyond our control. It is simply a part of modern day society. We are led by the subliminal dictatorship of social media and fashion trends. We live in a world where the socially aware radical thinkers are branded not as visionaries but as social outcasts, a world where architecture not only functions as a building but as a trademark image in a global market of consumerism. It is now possible to see the world without ever leaving your armchair. The branding of architecture and also that which architecture can represent, is truly astounding. It can influence even the most mundane of daily tasks such as shopping, where you buy your newspaper or even what type of house you live in. It can also influence where you go on holiday, where you get married, or which part of this ever shrinking world you chose to live in. The brand is the most subliminal influence in this world. Everything we see, do, feel is an association of a place, a product, a

45

company. The question is, do these influences work for us in a positive way?

46

Conclusion
The notion of defining architectural branding as black or white, good or bad is impossible. When it comes to architectural branding, the best way to define it is with the statement that, It is simply a fundamental part of not only architecture but life; it is how we process things. Without the ability to categorise these masses of information, or associate emotions with certain time, places or products, we would simply live in a world of chaos. Logos let us know where we are, whether or not something is safe to eat, they can have and will be life saving tools. The world is a place of the ever evolving language of symbology. The idea of architectural branding is a little known concept and is ever developing from an architectural perspective. I do fear that we have not yet seen the true extents of architectural branding as companies are only really just starting to explore the potential that architecture has to offer their business. Architectural branding is a way of us establishing a lifestyle; it is an expression of who I am. We associate

47

everyday things with images of status and categorise lifestyles into a form of hierarchy. Architecture is a representation of cultural standing; we value ourselves on how we are viewed by our peers. We clad ourselves and lifestyles with nice clothes, drive expensive cars and aspire to live in big houses. The association of these superficial possessions seem to give rise to a higher social status. We brand ourselves with the image of wealth. A house is a perception of their owner
17

The possibility that we are on the verge of a new era of architectural branding is an ominous concept. It is a daunting thought because we currently have a mentality to develop these so called Icons which have no real value, other than recognition. The term Things will only get worse before they get better springs to mind when considering the huge potential of the branding concept. As an architect I remain optimistic about the future prospects of our industry. I truly believe that architecture has not reached or even began to realise its full potential. The emphasis being placed solely on aesthetical design is, in my opinion, impractical.

Architecture is inhabited sculpture

- Constantin Brancusi 1876-1957, Romanian Sculptor

17

Anna Klingmann on ABC Radio National, interview by Alan Saunders

48

The danger is that architecture is only an inhabited sculpture.

This should not be the driving force behind architecture and maybe it is time to take a step back and have a real look at where modern architecture is leading us. Right now architecture seems to be on the verge of something new. Architecture is coming to a fork in the road, which road we take will shape our future and we are currently being led by the corporate fashion trends of visual statements and financial gains. The danger is, where does the line stop and when does architecture become just another advert? Is a building just another oversized billboard with considerable advertising potential or is it a functional structure for those inhabiting it? A key point made by Anna Klingmann of Klingmann Architecture + Branding, is that she says as we have moved from a one-size-fits-all economy, the focus of architecture has evolved from an emphasis on what it has and what it does to what you feel and who you are the key concepts in what is increasingly referred to as the experience economy . This experience economy
18

18

Klingmann, Brandscapes.

49

that she refers to is the association of brands. This is where the danger lies, to what extent will eccentric or ambitious designers and corporations go to, to achieve their brand experience. Anna Klingmann goes on the say that this shift demonstrates that while form and function in architecture remain important criteria, personal identity and personal growth have become even more crucial in the assessment of architectures value. This personal
19

growth and identity is where the selfish mentality of individuals and businesses could potentially be defining our future. In order for the smaller businesses to compete with larger companies they are inevitably going to have to come up with ever more inventive or controversial marketing and advertising ploys. Hence the association of companies such as Tescos and Sainsburys and their marketing wars, the same comparison can be drawn to the rivalry between Coca Cola and Pepsi. Their ever increasingly controversial publicity stunts and advertisements are already ever present in our lives but what happens when they realise the full potential of architectural branding? Will we end up with a 50 storey coke bottle on our high-street? One example of this already happening is the Louis Vuitton shop in Hong Kong.

19

Klingmann, Brandscapes.

50

How long will we have to deal with this kind of architecture before we face the harsh reality that this is where we could potentially end up? Do we want our major cites to be associated with company brands or do we need to start regulating these corporate monstrosities? The architectural world has a responsibility to stand up and face the realisation that we are shaping this planet for future generations. Do we want to leave a legacy of brand name cities associated with fashion companies or corporate domination? The company at the forefront of architectural branding is Klingmann Architecture + Branding. This practice is

51

specifically tailored to produce architectural brand projects. Their brochure says KABC designs environments with a focus placed on the quality of the user experience and culturally relevant solutions. Our design is driven by consideration of the moments of engagement between people and brands, and the ideas, emotions, and memories that these moments create. program managers they are geared solely towards producing brand architecture. Is this simply another brand image taking advantage and creating their corporate image based on the brand association of brand associations? If architecture can realise its true potential then it has a bright future, and architectural branding is just starting to touch on that potential. The concept of a building being able to represent an emotion or feeling and provoking a subconscious psychological response is a mind boggling notion. The possibilities are endless and this is the future of architecture. With the breakthroughs that scientists are making in the field of environmental psychology, the new technology is paramount to the development of this new architectural era and the potential of architecture.
20

With a blend of retail executives, architects, designers and

20

LargeBrochure.pdf, n.d., http://www.klingmann.com/new/include/LargeBrochure.pdf.

52

Physical and behavioural effects between people and their physical environments became quite complex when elements of light and colour (shade or tint, warm or cool), texture (materials and surfaces), acoustical characteristics (noise) are taken into account. Ultimately, Light is the most effective element in creating a sense of mystery and awe, and the manipulation of light is a principal agent in the creation of shrines and religious buildings.
21

The hope is that one day in the not so distant future that architecture and science will form a strong link and work together, is the key to the future of architecture. The basis that architectural branding could set out will define the future of architecture and will lay the foundations for future generations of architects to build on. The psychology of architecture that branding can achieve will unlock the true potential of architecture. Modern day architecture is geared around aesthetical seduction but we are beginning to understand the psychological benefits of architecture with designs such as Maggies cancer care centres and the Kingsdale School project in London by dRMM architects. Both of these projects are using environmental psychology techniques to revolutionise the Health and education sectors.

21

Psychology of Architecture.pdf, n.d., http://www.grandlodge.mb.ca/mrc_docs/PsychologyofArchitectur e.pdf.

53

Like Le Corbusier articulated the major shift of the 20

th

century with his vision of an industrial, mechanised future and his clean lines, modernistic designs along with his visions for city and urban plans. All of these were inspired and somewhat caused by a social revolution, so is it possible that we are once again on the verge of a new revolution, described by Anna Klingmann as the experience economy, we are moving from an aesthetically driven desire to a more personal experience driven form of architecture. One where architecture offers a true, total sensory stimulation rather than one that simply focuses on only one of our five senses. The customers of these brand name architects are becoming increasingly educated on the dynamics of architectural design and are demanding higher standards. We will however be faced with many different brand designs, some will be good but I fear it will take a truly monstrous design to change how we look at architecture. This will inevitably be the result of the over use of brand architecture. When faced with the ideas and influences that branding can have on our subconscious and the psychological effects of associations, it is not hard to imagine where this will inevitably lead the architecture industry in the distant future. Experiential architecture is the future of our industry, lead by a collaboration of architects, scientists,

54

psychologists and engineers. A new age of architecture will be developed from the knowledge basis that has been laid down throughout the history of our short human existence. Maybe the effects of architectural branding will finally inspire us to move out of this era of architectural statements and use architecture for what it truly is and can be. An inspirational tool to inspire the masses to achieve more. A symbol that architecture can be more than just an emblem of social and financial status but a beacon of hope, a guide for future generations to help them find their ultimate goal, utopia.

When one door closes, another opens; but we often look so long and so regretfully upon the closed door that we do not see the one which has opened for us.
Alexander Graham Bell

55

56

Bibliography & References

Adorno, Theodor W., Walter Benjamin, Ernst Bloch, Bertolt Brecht, and Georg Lukacs. Aesthetics and Politics. Verso Books, 2007. Anonymous. Who Was the First Architect? or Bees and

Beehives. Kessinger Publishing, 2010.

Architectural Psychology, n.d. http://leoncolor.com/architectural_psychology.ht ml. Architecture Debate, Iconic Architecture, Discussion Forum, Built Environment Debate, n.d. http://www.earchitect.co.uk/architecture_debate.htm. Architecture In Development - News - Architectures Evil Empire?, n.d. http://www.a-id.org/news.php?id=20. Ballantyne, Andrew. Deleuze & Guattari for Architects. New Ed. Routledge, 2007. Botton, Alain de. The Architecture of Happiness. New Ed. Penguin, 2007.

57

Brauer, Gernot, ed. Architecture as Brand Communication:

Dynaform + Cube. Bilingual. Birkhauser Verlag AG,

2002. Can We Still Believe in Iconic Buildings?, n.d. http://www.prospectmagazine.co.uk/2005/06/can westillbelieveiniconicbuildings/. Caruso, Adam. The Feeling of Things. Ediciones Poligrafa, 2009. Cattermole, Paul. Buildings for Tomorrow: Architecture

That Changed Our World. 1st ed. Thames &

Hudson, 2006. Corbusier, Le. The City of Tomorrow and Its Planning. Reissue. Dover Publications Inc., 2000. . Towards a New Architecture. BN Publishing, 2008. Curtis, William. Modern Architecture Since 1900. 3rd Revised ed. Phaidon Press Ltd, 1996. Debord, Guy. Society of the Spectacle. Edited by Martin Jenkins. Soul Bay Press, 2009. Environmental Psychology #pdf, n.d. http://www.c-sp.org/flyers/9781847182180-sample.pdf. Environmental Psychology Defined | Raymond De Young, n.d. http://wwwpersonal.umich.edu/~rdeyoung/envtpsych.html. Fajardo, Julio. Starchitects: Visionary Architects of the

Twenty-first Century. Collins Design, 2010.

Fazio, Michael, and Marian Moffett. A World History of

Architecture. 2nd ed. Laurence King, 2008.

58

Foster, Mrs Jonathan. THE CAMBRIDGE MODERN

HISTORY., SCULPTORS AND ARCHITECTS. VOL 1.

George Bell, 1890. Frampton, Kenneth. Modern Architecture: A Critical

History. 4th Revised ed. Thames & Hudson, 2007.

Gehl, Jan. Cities for People. 1st ed. Island Press, 2010. Georgacarakos, Maria. Exploring the History of

Architecture and the Profession of an Architect.

Lightning Source UK Ltd, 2011. Girardet, Herbert. Creating Sustainable Cities. Green Books, 1999. Gobe, Marc. Emotional Branding. Updated and revised ed. Allworth Press,U.S., 2010. Great Modern Buildings | Art and Design | The Guardian, n.d. http://www.guardian.co.uk/artanddesign/series/gr eatmodernbuildings. Hall, Peter. Cities of Tomorrow: An Intellectual History of

Urban Planning and Design in the Twentieth Century. 3rd ed. Wiley-Blackwell, 2002.
Harari, Oren. Break From the Pack: How to Compete in a

Copycat Economy. 1st ed. FT Press, 2006.

Holt, Douglas B. How Brands Become Icons: The

Principles of Cultural Branding. Boston, Mass:

Harvard Business School Press, 2004. Hutchinson, Martin. The Abyss of Time: An Architects

History of the Golden Section. Chocolate Tree

Books, 2008.

59

Iconic Architecture, Starchitects, Celebrity Designers, Iconic Buildings, n.d. http://www.earchitect.co.uk/iconic_architecture.htm. Iconic Buildings and Tourism: Where to Next?, n.d. http://www.insights.org.uk/articleitem.aspx?title=Ic onic%20Buildings%20and%20Tourism:%20Where %20to%20Next? Iconic Dubai Architecture | Sightseeing in Dubai | Discover Dubai | Destinations & Offers | Emirates, n.d. http://www.emirates.com/english/destinations_off ers/discoverdubai/sightseeingindubai/iconicdubai architecture.aspx. In Pursuit of the Design Icon, n.d. http://www.scribd.com/doc/62464323/In-Pursuitof-the-Design-Icon. Jencks, Charles. Iconic Building: The Power of Enigma. Frances Lincoln, 2005. . The Iconic Building Is Here to Stay. City 10, no. 1 (April 2006): 320. . The Story of Post-modernism: Five Decades of the

Ironic, Iconic and Critical in Architecture. 2nd ed.

John Wiley & Sons, 2011. Kingsdale School Music & Sports dRMM De Rijke Marsh Morgan Architects, n.d. http://drmm.co.uk/projects/kingsdale-schoolmusic-sports/. Klingmann, Anna. Brandscapes. MIT Press, 2010.

60

Koolhaas, Rem. Delirious New York: A Retroactive

Manifesto for Manhattan. New Ed. Monacelli

Press, 1994. Kostof, Spiro. The Architect: Chapters in the History of the

Profession. 2Rev Ed. University of California Press,

2001. Lacayo, Richard. Time Architects of Civilization: 100

People Who Shaped History. Time Inc Home

Entertaiment, 2012. LargeBrochure.pdf, n.d. http://www.klingmann.com/new/include/LargeBr ochure.pdf. Lynch, Kevin. The Image of the City. MIT Press, 1960. Maggies Cancer Caring Centres: About Maggies Cancer Support Programme, n.d. http://www.maggiescentres.org/programme/abou t.html. Minton, Anna. Ground Control: Fear and Happiness in the

Twenty-first-century City. Penguin, 2009.

Modern Day Iconic Buildings - What Really Makes Them Iconic?, n.d. http://ezinearticles.com/?ModernDay-Iconic-Buildings---What-Really-Makes-ThemIconic?&id=2983327. Muschamp, Herbert. New York Times Magazine (n.d.). Pallasmaa, Juhani. The Eyes of the Skin: Architecture and

the Senses. 2nd ed. John Wiley & Sons, 2005.

Peter Davey: Now Is the Time for Empathic Architecture, n.d.

61

http://www.architectsjournal.co.uk/news/opinion/ peter-davey-now-is-the-time-for-empathicarchitecture/5214365.article. Professor David Canter - Environmental Psychology, n.d. http://davidcanter.com/environmentalpsychology.html. Psychology of Architecture.pdf, n.d. http://www.grandlodge.mb.ca/mrc_docs/Psychol ogy%20of%20Architecture.pdf. Rasmussen. Experiencing Architecture. 2nd Revised ed. MIT Press, 1962. Review 2004: Architecture - Telegraph, n.d. http://www.telegraph.co.uk/culture/art/3633470/R eview-2004-architecture.html. Rowe, Colin, and Fred Koetter. Collage City. New ed. MIT Press, 1978. STARTING OVER - RIBA Journal, n.d. http://www.ribajournal.com/index.php/feature/arti cle/starting_over_JUNE09. SUS_tallbuildings.pdf, n.d. http://www.cityoflondon.gov.uk/NR/rdonlyres/08A 4077B-3199-442E-B4D1E7F9F2C68E15/0/SUS_tallbuildings.pdf. Thames and Hudson. Architecture + Process. In Gehry

Talks, 22, n.d.

The Real Iconic Architecture. The Guardian, October 1, 2010, sec. Comment is free.

62

http://www.guardian.co.uk/commentisfree/2010/o ct/01/architecture-iconic-competition-prize. Top 10 Iconic Buildings | Top 10 Lists | TopTenz.net, n.d. http://www.toptenz.net/top-10-iconicbuildings.php. Travis, Daryl. Emotional Branding: How Successful

Brands Gain the Irrational Edge. Crown Business,

2000. Unwin, Simon. Unwin Student Pack: Analysing

Architecture. 3rd ed. Routledge, 2009.

Venturi. Learning from Las Vegas: The Forgotten

Symbolism of Architectural Form. Revised ed. MIT

Press, 1977. Venturi, Robert. Complexity and Contradiction in

Architecture. 2nd Revised ed. The Museum of

Modern Art, New York, 1984. What Is an Iconic Design?, n.d. http://www.technologystudent.com/prddes1/icon 1.html. What Makes an Iconic Brand? - WPP, n.d. http://www.wpp.com/wpp/marketing/reportsstudi es/whatmakesaniconicbrand.htm. Wheeler, Alina. Designing Brand Identity: A Complete

Guide to Creating, Building, and Maintaining Strong Brands. 2nd ed. Wiley, 2006.

63