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In the twenty-first century, we must learn to look at cities not as skylines but as brandscapes and at buildings not as objects but as advertisements and destinations. In the experience economy, experience itself has become the product: we're no longer consuming objects but sensations, even lifestyles. In the new environment of brandscapes, buildings are not about where we work and live but who we imagine ourselves to be. In Brandscapes, Anna Klingmann looks critically at the controversial practice of branding by examining its benefits, and considering the damage it may do. Klingmann argues that architecture can use the concepts and methods of branding--not as a quick-and-easy selling tool for architects but as a strategic tool for economic and cultural transformation. Branding in architecture means the expression of identity, whether of an enterprise or a city; New York, Bilbao, and Shanghai have used architecture to enhance their images, generate economic growth, and elevate their positions in the global village. Klingmann looks at different kinds of brandscaping today, from Disneyland, Las Vegas, and Times Square--prototypes and case studies in branding--to Prada's superstar-architect-designed shopping epicenters and the banalities of Niketown. But beyond outlining the status quo, Klingmann also alerts us to the dangers of brandscapes. By favoring the creation of signature buildings over more comprehensive urban interventions and by severing their identity from the complexity of the social fabric, Klingmann argues, today's brandscapes have, in many cases, resulted in a culture of the copy. As experiences become more and more commodified, and the global landscape progressively more homogenized, it falls to architects to infuse an ever more aseptic landscape with meaningful transformations. How can architects use branding as a means to differentiate places from the inside out--and not, as current development practices seem to dictate, from the outside in? When architecture brings together ecology, economics, and social well-being to help people and places regain self-sufficiency, writes Klingmann, it can be a catalyst for cultural and economic transformation.

Tabla de contenidos provista por Syndetics

• Acknowledgments(p. xi)
• 1 Introduction: Architecture In The Experience Economy(p. 1)
• 2 Eyes Which Do Not See(p. 11)
• 2.1 Liners: From Function to Experience(p. 11)
• 2.2 Airplanes: From Hardware to Humanware(p. 19)
• 2.3 Automobiles: From Standardization to Mass Customization(p. 24)
• 3 Changing The Code(p. 35)
• 3.1 The Experience Economy(p. 35)
• 3.2 Architecture as Experience(p. 45)
• 3.3 The Brand(p. 55)
• 3.4 Added Value(p. 65)
• 4 Architecture Without Architects(p. 69)
• 4.1 Architecture with a Plot(p. 69)
• Living the Fully Branded Experience(p. 77)
• 4.2 Literal Brandscapes(p. 81)
• Times Square and Potsdamer Platz(p. 83)
• NikeTown(p. 86)
• 4.3 Phenomenal Brandscapes(p. 89)
• Third Street Promenade(p. 93)
• Evolution as "Flattened" Branded Landscape
• Jerde Partnership(p. 99)
• Reinventing the Communal Experience
• Inspiration(p. 106)
• 5 Marketing Without Marketers(p. 111)
• 5.1 The Choreography of Unpredictability(p. 111)
• 5.2 The Accommodating Critical(p. 115)
• 5.3 Nobrow(p. 124)
• 5.4 Liquid Architecture(p. 124)
• 5.5 Datascapes(p. 131)
• 5.6 Time-Based Strategies(p. 135)
• 5.7 Parametric Design(p. 138)
• 5.8 SHoP(p. 145)
• 5.9 The Legacy of Modernism(p. 148)
• 6 (M)arketing(p. 155)
• 6.1 How Marketing Trumped (Modernist) Ideology(p. 155)
• 6.2 Architecture as Product(p. 184)
• Understanding, Creating, Communicating
• 7 (M) architecture(p. 189)
• 7.1 The Lessons of Las Vegas(p. 189)
• The Inverted Shed and the Inverted Duck(p. 190)
• Place Marketing(p. 194)
• 7.2 The Illusion of Plans(p. 206)
• From Composition to Choreography(p. 206)
• From Object to Field(p. 211)
• From Axis to Path(p. 212)
• From Wall to Surface(p. 214)
• 7.3 Pure Creation of the Mind(p. 214)
• The Legibility of Intention(p. 214)
• The Discontinuity of Stage and Backstage(p. 215)
• Drama + Diversity + Detail(p. 217)
• Addendum 1: Figural Regimes of Signification(p. 223)
• Addendum 2: The Parthenon(p. 230)
• 8 Beyond Bilbao(p. 237)
• 8.1 Architecture as a Catalyst for Urban Renewal(p. 237)
• 8.2 Architecture as Brand Equity(p. 240)
• 8.3 Architecture as Spectacle(p. 247)
• 9 Architecture As A Brand(p. 255)
• 9.1 Corporate Branding(p. 255)
• The Tension between Market and Place(p. 255)
• Corporate Architecture(p. 259)
• The Case of Vollkswagon and Ford(p. 260)
• From Impact to Contact(p. 265)
• Inspiration(p. 270)
• 9.2 Urban Branding(p. 271)
• Think Locally, Act Globally(p. 271)
• Architecture as a Marketing Tool(p. 273)
• Concept Engineering(p. 281)
• 9.3 Residential Branding(p. 285)
• Brandism (TM)(p. 291)
• The Brand Called "You"(p. 304)
• 10 Ten Reminders To Architects(p. 311)
• 10.1 From Product to Brand(p. 311)
• 10.2 From Need to Desire(p. 312)
• 10.3 From Performance to Experience(p. 313)
• 10.4 From Plan to Choreography(p. 314)
• 10.5 From Program to Ambience(p. 314)
• 10.6 From Impact to Contact(p. 315)
• 10.7 From Function to Form(p. 316)
• 10.8 From Commodity to Catalyst(p. 317)
• 10.9 From Physical to Human Context(p. 318)
• 10.10 From Object to Subject(p. 318)
• 11 Bridging The Gap(p. 321)
• Afterword(p. 327)
• Notes(p. 331)
• Index(p. 351)

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Publishers Weekly Review

The principle behind this book is that buildings aren?t just buildings, but rather iconic symbols that reflect who we are as people, cities and economies-in that sense, they represent a "brand" of sorts. Carrying that logic several steps short of its logical conclusion, architect and writer Klingmann looks at the "brandscapes" that cityscapes have become: "[A]s a strategic tool for eliciting a relevant experience, architecture has an immediate impact on social relations and economic transactions... What counts in a building is not so much how it looks but how it comes to life for people." The problem with these and other statements throughout is that they come off as either vague or self-evident (perhaps as a result of her immersion in the subject-she?s the founder of a New York agency "for architecture and brand building"). There is no doubt that Klingmann has passion and knowledge to spare, and that the general idea behind the book is valid, but esoteric, faux-academic writing ("The equation of Experience = Drama + Diversity + Detail can be discerned in the Parthenon almost as clearly as it can in contemporary commercial structures") too often substitutes for well-developed argument and clear-headed analysis. 100 illus. (Sept.) Copyright 2007 Reed Business Information.

Notas de autor provistas por Syndetics

Anna Klingmann, an architect and critic, is the founder and principal of KL!NGMANN, an agency for architecture and brand building in New York. Her work has been published in AD Magazine, Daidalos, Architectural Record, Architecture d'Aujourd'hui, and other periodicals.