Brand—Space

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46 Chris Killeen, John McDermott (AVB Brand) –November 2016 [Notes] 1. Let’s begin with how you start a brand space project? How involved is a client at this stage, is this an important factor, what are the main starting points? Yes it’s important. Very important to be heavily involved know all the reasons, identify applications and issues. Working with them to understand better. Site visits, research and then creative development. CK If you’re in working from the start you have more chance to influence that space. Whereas if you arrive in late to a project you have very little say over space and can end up just putting vinyl on the wall. Working with interior designers and architects allows you to work out what a space is for how it’s going to be used. Brand values should be lived out in the space itself. It’s about style and tone rather than just badging a space. JM Knowing the audience. CK Knowing budgets – important to know so you don’t design something beyond the budget. Choosing the right style and feel for the money. Architects don’t necessarily focus on brand. JM 2. Have you worked with architects previously to bring a brand to life in the real world? What are the benefits of having a positive relationship between a designer and an architect in making a creative vision reality? As answered in 2. above 3. How do you go about translating a brands statement visually: what it stands for, its traditions, its vision etc? Worked closely with architects of the MAC, [flexible identity working to apply that to the environment] Staying true to the brand CK Logo is applied outside so no need to have it everywhere inside. Big part of branding is way finding. Go to a site and see it from the visitors shoes, find out how to get from A-B. Materials, fixtures. Materials of signs. Subtle suggestions. Feel right, don’t want it to jar, want it to compliment the environment. JM Needs to be practical as well CK Signage shouldn’t be an afterthought. JM MAC lettering outside, brand into a 3D space. Treat architect like a client to get a well-branded space. That’s when you get a good result. CK
47 6. How important is physical, and in 4. Explain the importance of the getting better at different dimensions. JM materials, textures, lighting and other techniques in creating an experience? MAC – ‘Leading edge’ Materials, finishes, layout. Not really want a logo. Don’t need to be told. Less is more approach. Brand narrative/storytelling. Subtle, bringing outside in. JM Apple’s London flagship store is doing CK House of Fraser is an experience store. some ways social, space to a brand? Especially in a digital age, and with such a rapidly changing world. (Pop-up/guerilla store) All big brands, Google etc. creating a social space to work in, it’s now become company culture. [To be comfortable] Need to make it feel like you want to be there. [Applicable to retail] JM Get people in to experience the products and then either go away and buy them online or in store. Immersive store you can go in, interact with the space. Buy online. JM 7. And what are your thoughts on the discovery element of physical space, building a journey for customers to 5. Along with this what other experiential/sensory techniques and methods can you use to enrich an experience and amplify the brand? Lighting/music. Hollister – been replicated, now they’ve changed.Music take you to the headspace they want [fun vs calm] CK Visual merchandising – John Lewis brand effects and influences their TV adverts which then affects what their store windows show and they are extensions of the ad campaign/brand. Brands need to be tell them a story. Advertising tactic, boost brand awareness JM Pop ups to [reduce the perceived scale of a brand] Pop ups to personalize: Nike – too big, go small/niche, look what we can do, we can relate you it/you. CK Pushing brand messaging. The people that work in that space, reinforce the brand. Human interaction, very important. Narrative and storytelling told through workers [MAC we’re here to help] JM
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Brand I Space
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III Brand—Space The impact of bra
Page 7 and 8: V Abstract Branded space, in the fo
Page 9 and 10: VII Contents 00— 01— 02— List
Page 11 and 12: IX Figure Page 6.3 6.4 6.5 6.6 6.7
Page 13 and 14: 01— 1 Introductio n
Page 15 and 16: Humans are social beings, and so by
Page 17 and 18: 5 SECTION TWO Branding What is bran
Page 19 and 20: 7 Brands Lovemarks Love Axis Fig. 2
Page 21 and 22: Fig. 2.3 Mathematical Theory of Com
Page 23 and 24: 11 SECTION THREE Perceptions of Pla
Page 25 and 26: 13 Fig. 3.1 Whitworth Gallery Outsi
Page 27 and 28: 15 SECTION FOUR Branded Place Brand
Page 29 and 30: 17 Fig. 4.2 Dyson Store London ‘
Page 31 and 32: 19 SECTION FIVE Experience of Place
Page 33 and 34: Starbucks unveils new interiors as
Page 35 and 36: 23 SECTION SIX Case Studies Example
Page 37 and 38: 25 Fig. 6.1 Levi's London Flagship
Page 39 and 40: 27 Fig. 6.6 Hunter Regent Street, L
Page 41 and 42: Fig. 6.10 Gran Turismo Driving Pod
Page 43 and 44: Fig. 6.11 Systembolaget Store 31
Page 45 and 46: ‘ It should be easy to search and
Page 47 and 48: 35 Fig. 5.17 Kasthall Store Fig. 5.
Page 49 and 50: 37 Fig. 5.21 The MAC Interior Fig.
Page 51 and 52: 39 A big part of this project, and
Page 53 and 54: 41 SECTION SEVEN Conclusion Brands,
Page 55 and 56: 43 APPENDIX Interviews Gerry Hamill
Page 57: 45 6. Have you worked with design/b
Page 61 and 62: 49 Bibliography Books Anon. (2013)
Page 63 and 64: 51 McLaughlin, A. (2016) ‘Ikea op
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Brand—Space

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