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>> Kembali ke Volume 3 No. 1 (2009)

Niken Palupi

Contemporary society has been remarkably high in openness to collaboration of various areas of expertise, or shall we call it “interdisciplinary generation”. In this essay I attempts to endorse environmental and cultural issues into architecture. Software and Machine now have become the parameter of architectural design methods. There will be a lot to talk about architecture in collaboration with culture, environment, technology and economy. One basic assumption that has followed contemporary manifestations of mass architecture is the notion of it is derived as soul-less, repetitive and monotonous pieces of property. The next striking question: does it always mean that significant profit equals immense mass-producing? This unpleasant image of modernity in architecture needs to be refined; hence both in the architecture and business world, “image” often draw money. Anxiously reflecting to my assumptions above, I am refining and resolving them with a proposal of a new business venture idea and critically emphasising the sumptuous importance of Sustainable Marketing in accordance to Sustainable Architecture.

Architecture with Power and Money

The discussion of “modernity” leads to the relationship between architecture as a cultural activity with bourgeois modernity of capitalist civilisation (power and money) (Heynen, 1999). I can put an example of this; our modern society currently has a culture of consumerism that has been highly supported by the architectural manifestations, where as the buildings or non-buildings built in an avant-garde and extravagant appearance, not only facilitating expensive commercial activities but also dwellings. This inevitably represents the bourgeois culture and the needs of exclusivity. The more expensive the “shell” looks, the more dignity the society gain.

Figure 1. Prada Store and Prada Sign
Source: Yusheng, 2004. http://www.figure-ground.com/prada_tokyo/

Figure 2. House in Saadiyat Island, by Zaha Hadid
Source: http://cubeme.com/blog/tag/zaha-hadid/

The term “modernisation” is more about the process of social development of technological advances, industrialisation and an expanding world market (Berman, 1985, quoted in Heynen, 1999). The destructions (either cultural or environmental) are completely irreversible. For example, the industrial era initialised modern architecture: a rationalised and machine-based design and materials (e.g. concrete and glass) which created regional architectural identity crisis, then high oil and energy resources consumptions from manufactures and building erections.

For the sake of sustainability, we have to act realistic by finding positive expansions of use from the recent technologies (existing example: Lithium battery technology is now used in petrol-free electric cars) and solutions using the ‘tools’ which are innovations created by modernity. Despite all of the negativities of modernity, as opposed to that, unlike radically despise globalisation and wish to transform everything back to tradition and vernacularism, I like the idea of exclusivity, technological necessities and industrialisation. I am using those values in the context of sustainability in a proposal for a successful yet sustainable business venture.

Sustainable Machinic Architectural Design

Architects have responsibilities of socio-culture and environment development, because their projects can affect the cultural activities, habits and routines of the surrounding people and cause environmental impacts from the materials they use. For example, space segregations in the modern city separate the levels of roads, malls and office buildings. That forms a culture where people are divided by activities and tend to be indoors (Lofland, 1985). The other perfect example is the “Le Louvre” in Paris, situated in the centre of historical buildings is a significant icon of the city; clearly represents Paris’ culture of preserving yet technologically advanced. These are the evidences of the power of architecture to the society.

As refinement of modernity in architecture, I am proposing an initial business idea which plays with variables like industrialisation, exclusivity, practicality, technology (media, software and machine), social and environment. This proposal is based on the use of latest technology to build a building construction based on modular “cells”, or according to Johnson (2001), in the field of architecture and urbanism, it is known as “intelligent cells”. Later, they can generate into many possibilities of various “bodies” of constructions.

The technology is creating a machine which can cut the material into a basic extensive two dimensional “cells” and later construct the “cells” into various types of three dimensional forms of applicable “bodies” or “organisms” of construction models. The design of the cells is parametric (Steele, 2003), regulated by the defined measurements, such as rotations, forces, weights, etc., and created by regularised processes and procedures in form-findings, using the latest modeling and animation application software (e.g. Rhino ceros, Maya, or Cathya). Inspired by Spuybroek (2004) in his article “Machining Architecture”, the processes later will result in an architectural morphology (evolution or stages of architectural forms).

In terms of sustainable environmental design strategy, according to the authors of the Institute of Structural Engineers (1999), there are major recent effects of the environment as the input of structural engineering: scarce of energy, finite materials, environmental damage and water requirements and global warming.

The added value and long-term benefits for this kind of method is the solutions to environmental problems in which the materials used here are recycled, local materials with certain reactions to physics variables like climate, temperature, movement, sounds. The overall building construction can save energy, and possess the machine to calculate all of those physical reactions. For example, materials which have characteristics that can absorb rain water and then reuse it for flushing, but also act as external sound insulation at the same time. Or have the ability to absorb solar energy and transfer it for power use in the building but can also make the interior warmer at nights.

Does mass production equals profit? By using a visionary Sustainable Marketing strategy; I can break my own assumption of mass-produced business model. This business idea is machine-based product but not entirely mass-produced, because the “cells” can be reconfigured into different forms and create both “mass” and “boutique” production. Furthermore, the benefits are practicality and exclusivity and environmental friendly at the same time. These are the core benefits which have to be rigorously commercialised and familiarised as a new sophisticated “image”. This is where Sustainable Marketing plays the big role.

The Marketing of Image in Architecture

“Image” and media is crucially important for architects to be able to gain large numbers of clients and architectural projects. As examples, image has a strong bond with the media. So, the architects have to build a strong relationship with the media. There is even a term “celebrity architects”, according to Chantal (2007). There are internationally successful “celebrity architects” architects such as Zaha Hadid Frank Gehry and Tadao Ando; they have published a lot of books about their visions, philosophies and projects, and their names and faces can be easily found in many of leading architectural and design magazines, such as AD, Architectural Record, Arcspace, icon, A+1, etc.

Their “image” that has brought by those media represents the familiar glamorous, bourgeois culture and high-class society. It seems that only rich people can afford the recent contemporary architecture. Their projects are extravagant office buildings, exclusive brand boutiques (e.g. Prada), or houses of celebrities. The architects even act like celebrities, living large and enjoying the media exploitations - both critics and compliments about their visions, architectural design qualities and even personal life - for the purpose of being known.

The evidence is: “I must say it was very fun,” says the architect Zaha Hadid of the mobile exhibition pavilion she designed for Chanel and Chanel has been inspired by Hadid for his latest materials. Hadid also cited the example of Rem Koolhaas’s work for Prada (Hadid, 2007 quoted in Horyn, 2007 in The New York Times).

Figure 3. Zaha Hadid and Karl Lagerfeld of Chanel; Chanel Mobile Art by Zaha Hadid; Chanel Bag and Building
Source: Eberle, 2004. http://www.vanityfair.com/culture/features/2008/06/chanel200806

Figure 4. Prada flagship store in New York by OMA, Rem Koolhaas
Source: http://www.galinsky.com/buildings/prada/index.htm

Figure 5. Prada Epicenter interior and front facade in Beverly Hills by OMA, Rem Koolhaas
Source: http://www.arcspace.com/architects/koolhaas/prada/prada.html

So, is “image” everything for architecture? My answer is: Yes! It is quite similar between successful architects with celebrities; they are all nothing without the role of the media. According to Haupt and Kubitzu (2002), in architecture marketing strategy, they have to have the skill of visual communications, public relations (e.g. media and clients) and most importantly ability to corporate with others for positioning of the firm (image). This should be a competitive advantage for them to set a trend in business.

To build strong brand equity, we should provide an “actual brand” where the customers are buying more than the products and services but also what the benefits can do for them (Kotler, et al, 2008). The topicality of sustainable architecture has not taken a good place in the industry and has not become an accepted standard. Therefore, my main point in this proposal is by using media and the power of architecture as tools. This proposal set a newest trend in “Sustainable Machinic Architecture” among the high-class and bourgeois society who have high taste and standard of quality. What the products and services can do is giving the added value to the people that being environmentally responsible by using the latest technology in architecture is classy, exclusive, honourable and sophisticated.

In this era of culture industry, products’ image can be deceiving and makes the customers rethink about the quality and meaningfulness (Adorno, 1991, quoted in Miles, Hall, and Borden, 2000).

Conclusion: Implementive Marketing Solutions

Based on the discussion above, I can conclude that the purpose of marketing practicality, exclusivity and environmental friendly can be reached by implementing these steps:

Create an image by choosing a right name. I can find a good example, there is a company named FAT (Fashion, Architecture, and Taste). From these words, the customers can easily grasp the image of contemporarily suitable for the latest life-style by adding Fashion and Taste embracing Architecture.

Figure 4. FAT article in Financial Times
Source: http://www.fashionarchitecturetaste.com/press.html

Direct marketing. By building prototype and hold 1:1 scale exhibitions in a reasonable scale so that the local customers can experience the sustainable design by themselves and it become possible to gain direct feedbacks from them, plus educating the customers about the newest “trend”.

Multiple pricing strategies. Considering there are lots of various possibilities of creating bodies of constructions, it is necessary to set the prices according to the level of complications of generating the models and the materials used.

Online, magazines and event publications. Try to build a good relationship with the leading architectural media (printed and online magazines) and important people in fashion, design and entertainment world. And participate or even hold the events where people from those backgrounds gather. From that it become possible to advertise products and services with representative visual communications which can draw tasteful clients.

Flexible customer segmentation. Once it successfully hits the high-class market, in this era of consumerism, the people in middle class will definitely influenced by the image of exclusivity and they will be interested to use this product and service as well, more over my pricing strategy is setting various levels of pricing. This means the middle-class customers can meet the affordable price and types of models.

So, in my own opinion, don’t fight the capitalism, instead, use it as a tool for realising your positively influencing idealism!

References

Architecstore (2008). Retrieved from http://www.architectstore.com/magazine.html, 24 November 2008.

Arcspace (2007). Retrieved from http://www.arcspace.com/architects/koolhaas/prada/prada.html, 24 November 2008.

Chantal (2007). Cubeme’s website. Retrieved from http://cubeme.com/blog/tag/zaha-hadid/. 24 November 2008.

FAT (2008). FAT, Fashion Architecture Taste. Retreived from http://www.fashionarchitecturetaste.com/press.html, 24 November 2008.

Johnson, S. (2001). Emergence, the Connected Lives of Ants, Brains, Cities and Software. New York: Scribner.

Falkenberg, H. (2008). Natural Flair, Eco Architecture. Stuttgart: Fusion Publishing GmbH.

Galinsky. (2005). Retreived from http://www.galinsky.com/buildings/prada/index.htm, 24 November 2008.

Haupt, E. & Kubitza, M. (2002). Marketing and Communications for Architects: Fundamentals, Strategies and Practice. Berlin: Birkhäuser.

Heynen, H. (1999). Architecture and Modernity: A Critique. Cambridge: MIT Press.

Horyn, C. (2007). The New York Times Runway Blog. Retreived from http://runway.blogs.nytimes.com/tag/zaha-hadid/, 24 November 2008.

Institution of Structural Engineers. (ed). (1999). Building for Sustainable Future: Construction without Depletion. London: SETO.

Kotler, P., Armstrong, G., Wong, V, Saunders, J. (2008). Principles of Marketing, 5th European Edition. Essex: Prentice Hall.

Miles, M., Hall, T., Borden, I. (ed). (2004). The City Cultures Reader. New York: Routledge.

Steele, B. (2003). ‘Disappearance and Distribution: The Architect as Machinic Interface’, Hunch: the Berlage Institute Report. No. 6/7. (Rotterdam: 2003), pp. 422-436.

Spuybroek, L. (2004). NOX: Machining Architecture. London: Thames and Hudson.

Tyrnauer, M. (2008). Vanity Fair’s website. Retreived from http://www.vanityfair.com/culture/features/2008/06/chanel200806, 24 November 2008. World-newspapers. (2008). Retrieved from http://www.world-newspapers.com/design.html, 24 November 2008.