The Experts below are selected from a list of 231 Experts worldwide ranked by ideXlab platform
Angela Bargenda - One of the best experts on this subject based on the ideXlab platform.
-
Building Meaning: Architectural Dialectic in Spatial Marketing Systems
Journal of Macromarketing, 2018Co-Authors: Angela BargendaAbstract:This conceptual article seeks to demonstrate the pertinence of Corporate Architecture as an integrative tool in spatial marketing systems. Architecture is explored in a dialectical perspective, bot...
-
Corporate heritage brands in the financial sector: The role of Corporate Architecture
Journal of Brand Management, 2015Co-Authors: Angela BargendaAbstract:The article seeks to illustrate the construct of a global Corporate identity through architectural brand stewardship. Adapting the concept of Heritage Quotient developed by Urde et al to a case study of Société Générale, the strategic interconnectedness of architectural parameters with Corporate history is articulated as a constitutive element of the Corporate heritage marketing mix. The aim of the article is to identify and analyse iconic design elements of building façades and interior space to demonstrate the transformation of Corporate history into heritage. The findings of the article show that architectural heritage capitalises on innovative branding opportunities and contributes significantly to the institution of a differentiated Corporate heritage marketing mix. Thus, as the spatial and material manifestation of the institutional past, Architecture ranks as a critical factor in identity building initiatives and reputation management.
-
Corporate heritage brands in the financial sector: The role of Corporate Architecture
Journal of Brand Management, 2015Co-Authors: Angela BargendaAbstract:The article seeks to illustrate the construct of a global Corporate identity through architectural brand stewardship. Adapting the concept of Heritage Quotient developed by Urde et al to a case study of Societe Generale, the strategic interconnectedness of architectural parameters with Corporate history is articulated as a constitutive element of the Corporate heritage marketing mix. The aim of the article is to identify and analyse iconic design elements of building facades and interior space to demonstrate the transformation of Corporate history into heritage. The findings of the article show that architectural heritage capitalises on innovative branding opportunities and contributes significantly to the institution of a differentiated Corporate heritage marketing mix. Thus, as the spatial and material manifestation of the institutional past, Architecture ranks as a critical factor in identity building initiatives and reputation management.
-
Space design as an expressive device in ambient marketing: Case studies of Deutsche Bank and Banca Monte dei Paschi di Siena
Journal of Marketing Communications, 2014Co-Authors: Angela BargendaAbstract:This paper opens new insights into the use of Corporate Architecture in ambient marketing communications. As an expressive system, architectural discourse transcends functional use-value, while providing potent contextual cues that enhance brand engagement. Within the integrated marketing communication mix, spatial signifiers create epistemic and experiential value. Two case studies from the European finance sector exemplify the communication relevance of architectural design. The interpretative methodology, based on a contrasting semiotic analysis, explores the meaning-generating potential of the square, a central structural element of the headquarters of Deutsche Bank and Banca Monte dei Paschi di Siena. Symbolic correlations between spatial organization and connotative implications show the salient features of aesthetic place-making in financial communication. This paper contends that Corporate Architecture not just serves as a support for ambient marketing initiatives, but its sign value as an urban a...
Richard L. Priem - One of the best experts on this subject based on the ideXlab platform.
-
The new Corporate Architecture
Academy of Management Perspectives, 1995Co-Authors: Gregory G. Dess, Abdul A. Rasheed, Kevin J. Mclaughlin, Richard L. PriemAbstract:Executive Overview For years the basic questions about how best to organize people and tasks remained the same: “Do we centralize or decentralize? Do we organize by product or function? Where do we stick the international operation?” The answers were seldom satisfactory. Typically, companies were organized by product, by customer, or by territory, and then switched when those structures stopped working. While senior managers felt the impact of such reshuffling, it rarely affected the rank and file who continued to operate in the same functional, vertical organization where all that changed was the boss's name. Today's management challenge is to design more flexible organizations that affect all members. With traditional structures failing, managers must evaluate innovative types of organization to see if these structures can deliver. In this article we examine three such structures—the modular, the virtual, and the barrier-free—which today have become part of the new Corporate Architecture.
Elgoibar Aguirrebengoa Ainara - One of the best experts on this subject based on the ideXlab platform.
-
Vídeo y vidrio: En reflexión sobre Performer/Audience/Mirror (1975), un work study de Dan Graham por Darcy Lange
'Edicions de la Universitat de Barcelona', 2019Co-Authors: Elgoibar Aguirrebengoa AinaraAbstract:[spa] Performer/Audience/Mirror (1977) es el título de una performance de Dan Graham que fue grabada en vídeo por su amigo y también artista Darcy Lange en Video Free America (San Francisco, EUA) en 1975. El vídeo resultante, también titulado Performer/Audience/Mirror (1975), es distribuido a día de hoy por Electronic Arts Intermix, y en su ficha Darcy Lange aparece acreditado como cámara. Esta tesis doctoral argumenta que Performer/Audience/Mirror (1975) puede interpretarse como un work study de Darcy Lange que retrata el trabajo de Dan Graham mientras realiza la performance de igual título. Los work studies son largas observaciones en video de gente mientras trabaja en contextos muy diversos que Darcy Lange produjo a lo largo de toda su vida. Este texto es por lo tanto un ejercicio especulativo en el que los trabajos de ambos artistas son puestos en relación, como dos rayos de luz que atraviesan un vidrio desde sus caras opuestas y se cruzan en el desvío que dibuja su difracción. Pero todo vidrio, por muy transparente que sea, genera una nueva trayectoria de luz, un reflejo, que en el caso de esta tesis se refiere a mi propio trabajo, y en concreto, al proyecto titulado Gold 20 (2013). El primer capítulo está dedicado a Darcy Lange y plantea un estudio formal de su obra en video. El objetivo es comprender el trabajo de Lange desde un punto de vista formal y vital, una metodología que en 1975, tras haber completado el proyecto A Documentation of Bradford Working Life, UK (1974), había adquirido ya un nivel de desarrollo propio. El segundo capítulo está dedicado a Dan Graham. Si los vídeos de Darcy Lange son en el capítulo primero la materia prima de estudio, en este caso parto de los textos de Dan Graham, quien a menudo ha utilizado la escritura como medio de expresión artística. El objetivo es de nuevo entender la metodología de trabajo y el impulso que mueve la obra de Dan Graham, con particular énfasis en Performer/Audience/Mirror (1975). El tercer capítulo está dedicado a Performer/Audience/Mirror (1975), y en él argumento por qué, a pesar de las inconsistencias documentales que afectan a la fecha, localización e identidad del cámara que Dan Graham identifica como Darcy Lange, pienso que este vídeo puede leerse como una obra singular en la trayectoria de ambos artistas, y que por lo tanto puede considerarse una pieza autónoma respecto a la performance y un work study de Darcy Lange. El cuarto capítulo se titula Gold 20, aunque en realidad bien podría haberse llamado two-way mirror, que es la forma en que Dan Graham denomina al tipo de vidrio para arquitectura llamado Low-E (de baja emisividad) al que el Gold 20 pertenece. En él reflexiono sobre lo que supone visionar Performer/Audience/Mirror (1975) en tanto work study de Darcy Lange desde la distancia que separa el vídeo tal y como se producía, distribuía y consumía en los 70 y el papel que esta tecnología juega en la comunicación y la sensibilidad contemporánea. Los usos y los sistemas productivos que sustentan la fabricación del espejo común, el vidrio Low-E, el two-way mirror y el Gold 20 —considerados todos ellos pertenecientes a una misma familia de productos— permiten establecer una relación entre la arquitectura corporativa, el desarrollo de la cibernética y la computación y la posición desde la que me relaciono, en tanto público, con aquella “audiencia” que asistía a la performance de Dan Graham que Darcy Lange grabó con una Sony Portapak de primera generación mientras veo el video en el que robé con mi iPhone Performer/Audience/Mirror (1975) en la biblioteca del MACBA.[eng] Performer/Audience/Mirror (1977) is the title of a performance by Dan Graham that was videotaped in Video Free America (San Francisco, USA) by Darcy Lange, a good friend of Graham’s and a pioneering video artist. The videotape, also titled Performer/Audience/Mirror (1975), is distributed by Electronic Arts Intermix, where Darcy Lange is credited as the cameraman. This Phd Thesis argues that Performer/Audience/Mirror (1975) can be interpreted as a work study by Darcy Lange that portrays Dan Graham’s work while doing the performance which bears the same title. Darcy Lange’s work studies are durational video observations of people while working in very different contexts, a type of work he produced throughout his lifetime. This text is therefore an speculative exercise that explores the relationship between the work and life of both artists, just like two rays of light which traverse a glass surface from its opposing sides cross each other as their trajectories are being modified by diffraction. But all glass —no matter how transparent it may be— generates a new light trajectory, a reflection, which in the context of the present thesis refers to my own work, in particular to the project titled Gold 20 (2013), which is a video that documents the production process of a particular kind of golden colored Low-E glass. Dan Graham has used Low-E glass in many of his architectural pieces although he has consistently referred to it as two-way mirror. The first of the four chapters that make up this Phd Thesis is dedicated to the work of Darcy Lange. The second, to Dan Graham’s. The third explains why, in spite of the historiographic inconsistencies that surround Performer/Audience/Mirror (1975), I think it can be regarded as a video piece of Lange’s as well as a performance of Graham’s. This alteration in perspective triggers a fourth chapter that contains a study of the gap between video practice as it was produced, distributed and consumed in the 70s and the role that such technology plays in contemporary communication and sensitivity, which materializes in the use of glass in the Corporate Architecture of the Silicon Valley
-
Vídeo y vidrio: En reflexión sobre Performer/Audience/Mirror (1975), un work study de Dan Graham por Darcy Lange
'Edicions de la Universitat de Barcelona', 2018Co-Authors: Elgoibar Aguirrebengoa AinaraAbstract:Performer/Audience/Mirror (1977) es el título de una performance de Dan Graham que fue grabada en vídeo por su amigo y también artista Darcy Lange en Video Free America (San Francisco, EUA) en 1975. El vídeo resultante, también titulado Performer/Audience/Mirror (1975), es distribuido a día de hoy por Electronic Arts Intermix, y en su ficha Darcy Lange aparece acreditado como cámara. Esta tesis doctoral argumenta que Performer/Audience/Mirror (1975) puede interpretarse como un work study de Darcy Lange que retrata el trabajo de Dan Graham mientras realiza la performance de igual título. Los work studies son largas observaciones en video de gente mientras trabaja en contextos muy diversos que Darcy Lange produjo a lo largo de toda su vida. Este texto es por lo tanto un ejercicio especulativo en el que los trabajos de ambos artistas son puestos en relación, como dos rayos de luz que atraviesan un vidrio desde sus caras opuestas y se cruzan en el desvío que dibuja su difracción. Pero todo vidrio, por muy transparente que sea, genera una nueva trayectoria de luz, un reflejo, que en el caso de esta tesis se refiere a mi propio trabajo, y en concreto, al proyecto titulado Gold 20 (2013). El primer capítulo está dedicado a Darcy Lange y plantea un estudio formal de su obra en video. El objetivo es comprender el trabajo de Lange desde un punto de vista formal y vital, una metodología que en 1975, tras haber completado el proyecto A Documentation of Bradford Working Life, UK (1974), había adquirido ya un nivel de desarrollo propio. El segundo capítulo está dedicado a Dan Graham. Si los vídeos de Darcy Lange son en el capítulo primero la materia prima de estudio, en este caso parto de los textos de Dan Graham, quien a menudo ha utilizado la escritura como medio de expresión artística. El objetivo es de nuevo entender la metodología de trabajo y el impulso que mueve la obra de Dan Graham, con particular énfasis en Performer/Audience/Mirror (1975). El tercer capítulo está dedicado a Performer/Audience/Mirror (1975), y en él argumento por qué, a pesar de las inconsistencias documentales que afectan a la fecha, localización e identidad del cámara que Dan Graham identifica como Darcy Lange, pienso que este vídeo puede leerse como una obra singular en la trayectoria de ambos artistas, y que por lo tanto puede considerarse una pieza autónoma respecto a la performance y un work study de Darcy Lange. El cuarto capítulo se titula Gold 20, aunque en realidad bien podría haberse llamado two-way mirror, que es la forma en que Dan Graham denomina al tipo de vidrio para arquitectura llamado Low-E (de baja emisividad) al que el Gold 20 pertenece. En él reflexiono sobre lo que supone visionar Performer/Audience/Mirror (1975) en tanto work study de Darcy Lange desde la distancia que separa el vídeo tal y como se producía, distribuía y consumía en los 70 y el papel que esta tecnología juega en la comunicación y la sensibilidad contemporánea. Los usos y los sistemas productivos que sustentan la fabricación del espejo común, el vidrio Low-E, el two-way mirror y el Gold 20 —considerados todos ellos pertenecientes a una misma familia de productos— permiten establecer una relación entre la arquitectura corporativa, el desarrollo de la cibernética y la computación y la posición desde la que me relaciono, en tanto público, con aquella “audiencia” que asistía a la performance de Dan Graham que Darcy Lange grabó con una Sony Portapak de primera generación mientras veo el video en el que robé con mi iPhone Performer/Audience/Mirror (1975) en la biblioteca del MACBA.Performer/Audience/Mirror (1977) is the title of a performance by Dan Graham that was videotaped in Video Free America (San Francisco, USA) by Darcy Lange, a good friend of Graham’s and a pioneering video artist. The videotape, also titled Performer/Audience/Mirror (1975), is distributed by Electronic Arts Intermix, where Darcy Lange is credited as the cameraman. This Phd Thesis argues that Performer/Audience/Mirror (1975) can be interpreted as a work study by Darcy Lange that portrays Dan Graham’s work while doing the performance which bears the same title. Darcy Lange’s work studies are durational video observations of people while working in very different contexts, a type of work he produced throughout his lifetime. This text is therefore an speculative exercise that explores the relationship between the work and life of both artists, just like two rays of light which traverse a glass surface from its opposing sides cross each other as their trajectories are being modified by diffraction. But all glass —no matter how transparent it may be— generates a new light trajectory, a reflection, which in the context of the present thesis refers to my own work, in particular to the project titled Gold 20 (2013), which is a video that documents the production process of a particular kind of golden colored Low-E glass. Dan Graham has used Low-E glass in many of his architectural pieces although he has consistently referred to it as two-way mirror. The first of the four chapters that make up this Phd Thesis is dedicated to the work of Darcy Lange. The second, to Dan Graham’s. The third explains why, in spite of the historiographic inconsistencies that surround Performer/Audience/Mirror (1975), I think it can be regarded as a video piece of Lange’s as well as a performance of Graham’s. This alteration in perspective triggers a fourth chapter that contains a study of the gap between video practice as it was produced, distributed and consumed in the 70s and the role that such technology plays in contemporary communication and sensitivity, which materializes in the use of glass in the Corporate Architecture of the Silicon Valley
Stephanie Decker - One of the best experts on this subject based on the ideXlab platform.
-
Solid Intentions:: an archival ethnography of Corporate Architecture and organizational remembering
Organization, 2014Co-Authors: Stephanie DeckerAbstract:Research on organizational spaces has not considered the importance of collective memory for the process of investing meaning in Corporate Architecture. Employing an archival ethnography approach, practices of organizational remembering emerge as a way to shape the meanings associated with architectural designs. While the role of monuments and museums are well established in studies of collective memory, this research extends the concept of spatiality to the practices of organizational remembering that focus on a wider selection of Corporate Architecture. By analyzing the historical shift from colonial to modernist Architecture for banks and retailers in Ghana and Nigeria in the 1950s and 1960s on the basis of documents and photographs from three different companies, this article shows how archival sources can be used to untangle the ways in which companies seek to ascribe meaning to their architectural output. Buildings allude to the past and the future in a range of complex ways that can be interpreted more fully by reference to the archival sources and the historical context of their creation. Social remembering has the potential to explain why and how buildings have meaning, while archival ethnography offers a new research approach to investigate changing organizational practices.
-
Solid Intentions: An Archival Ethnography of Corporate Architecture and Organizational Remembering
2012Co-Authors: Stephanie DeckerAbstract:Research on organizational spaces has not considered the importance of collective memory for the process of investing meaning in Corporate Architecture. Employing an archival ethnography approach, practices of organizational remembering emerge as a way to shape the meanings associated with architectural designs. While the role of monuments and museums are well-established in studies of collective memory, this research extends the concept of spatiality to practices of organizational remembering that focus on a wider selection of Corporate Architecture. By analyzing the historical shift from colonial to modernist Architecture for banks and retailers in Ghana and Nigeria in the 1950s and 1960s on the basis of documents and photographs from three different companies, this article shows how archival sources can be used to untangle the ways in which companies seek to ascribe meaning to their architectural output. Buildings allude to the past and the future in a range of complex ways that can be interpreted more fully by reference to the archival sources and the historical context of their creation. Social remembering has the potential to explain why and how buildings have meaning, while archival ethnography offers a new research approach to investigate changing organizational practices.
Gregory G. Dess - One of the best experts on this subject based on the ideXlab platform.
-
The new Corporate Architecture
Academy of Management Perspectives, 1995Co-Authors: Gregory G. Dess, Abdul A. Rasheed, Kevin J. Mclaughlin, Richard L. PriemAbstract:Executive Overview For years the basic questions about how best to organize people and tasks remained the same: “Do we centralize or decentralize? Do we organize by product or function? Where do we stick the international operation?” The answers were seldom satisfactory. Typically, companies were organized by product, by customer, or by territory, and then switched when those structures stopped working. While senior managers felt the impact of such reshuffling, it rarely affected the rank and file who continued to operate in the same functional, vertical organization where all that changed was the boss's name. Today's management challenge is to design more flexible organizations that affect all members. With traditional structures failing, managers must evaluate innovative types of organization to see if these structures can deliver. In this article we examine three such structures—the modular, the virtual, and the barrier-free—which today have become part of the new Corporate Architecture.
