This book is an investigation of the cultural phenomenon of branding and its transformational effects on the contemporary spatial – and urban – reality. It develops a novel understanding of the rationale behind the construction of large-scale architectural complexes that relate to corporate brands, and of its tremendous cultural effects. The author suggests that what we see today is the creation of "global mass ornaments", of a thorough ornamentalization of the entire globe. The origins of this are discussed with regard to examples of corporate brand-building from Europe and China (Autostadt Wolfsburg, BMW Welt Munich and Anting New Town). Additional cases are several simulated spaces in Berlin and the space-branding activities of companies like Apple or Prada. Theoretically, the author develops an innovative poststructuralist framework, combining ideas from Gilles Deleuze with the space philosophy of Peter Sloterdijk. He analyzes how the corporate redefinition of space makes the city enter into a mode of virtual urbanity. This idea leads to a notion of a "global urban" and, ultimately, the "global mass ornament". This concept of a global mass ornament is developed here with reference to Sloterdijk’s concept of a world of "spheres". The latter is used to understand the new mode of spatiality of mediatized spaces. The book makes the point that our world is involved in a process of mass ornamentalization that has only just begun. The concept of the global mass ornament is the first to come to grips with a culture in which branding is effectively changing the physiognomy of the earth. The global mass ornament is a banner for a cultural transformation that employs architecture, sign theory and mechanisms borrowed from traditional advertising and from social media, as well as social processes – and that we have yet to properly understand. This book is a significant step forward in this respect.
This book offers fresh insights into how companies can engage with, and make use of, the modern metropolis. Based on actor-network theory and the resource-based view of the firm, it demonstrates how the contemporary city can be seen – and used – as a resource for corporate innovation. The main argument is that companies have to build what the author calls “urban innovation networks.” After a theory-based outline of such networks, the author demonstrates the extent to which different institutional players – companies such as Audi, Ikea and Siemens, but also arts institutions like the Haus der Kunst in Munich – are already working to create them. The book combines management thinking with urban theory and the sociology of networks to create a unique blend of different views of capitalism and space, offering a new perspective on both the modern metropolis and globally operating companies active within our distinctly urban culture.
This book scrutinizes the relationship between contemporary TV shows and space, focusing on the ways in which these shows use and narrate specific spatial structures, namely, spaces far away from traditional metropolises. Beginning with the observation that many shows are set in specific spatial settings, referred to in the book as “nonplace territories” – e.g., North Jersey, New Mexico, or rural and suburban Western Germany – the author argues that the link between such nonplace territories and shows such as The Sopranos, Breaking Bad, or Dark is so intense because the narrative structure functions similarly to these territories: flat, decentralized, without any sense of structure or stable hierarchy. The book takes three different perspectives: first, it looks at the rationale for combining TV shows and nonplace territories from the viewpoint of narrative strategy. It then thinks through what these strategies mean for practicing architects. Finally, it approaches the arguments made before from a “user” perspective: what does this narrative mirroring of social-spatial reality in places such as Albuquerque or Jersey City mean for people living in these places? This new approach to architecture and space on screen will interest scholars and students of television studies, screen architecture, media and architectural theory, and popular culture.
This book is an investigation of the cultural phenomenon of branding and its transformational effects on the contemporary spatial – and urban – reality. It develops a novel understanding of the rationale behind the construction of large-scale architectural complexes that relate to corporate brands, and of its tremendous cultural effects. The author suggests that what we see today is the creation of "global mass ornaments", of a thorough ornamentalization of the entire globe. The origins of this are discussed with regard to examples of corporate brand-building from Europe and China (Autostadt Wolfsburg, BMW Welt Munich and Anting New Town). Additional cases are several simulated spaces in Berlin and the space-branding activities of companies like Apple or Prada. Theoretically, the author develops an innovative poststructuralist framework, combining ideas from Gilles Deleuze with the space philosophy of Peter Sloterdijk. He analyzes how the corporate redefinition of space makes the city enter into a mode of virtual urbanity. This idea leads to a notion of a "global urban" and, ultimately, the "global mass ornament". This concept of a global mass ornament is developed here with reference to Sloterdijk’s concept of a world of "spheres". The latter is used to understand the new mode of spatiality of mediatized spaces. The book makes the point that our world is involved in a process of mass ornamentalization that has only just begun. The concept of the global mass ornament is the first to come to grips with a culture in which branding is effectively changing the physiognomy of the earth. The global mass ornament is a banner for a cultural transformation that employs architecture, sign theory and mechanisms borrowed from traditional advertising and from social media, as well as social processes – and that we have yet to properly understand. This book is a significant step forward in this respect.
This book offers fresh insights into how companies can engage with, and make use of, the modern metropolis. Based on actor-network theory and the resource-based view of the firm, it demonstrates how the contemporary city can be seen – and used – as a resource for corporate innovation. The main argument is that companies have to build what the author calls “urban innovation networks.” After a theory-based outline of such networks, the author demonstrates the extent to which different institutional players – companies such as Audi, Ikea and Siemens, but also arts institutions like the Haus der Kunst in Munich – are already working to create them. The book combines management thinking with urban theory and the sociology of networks to create a unique blend of different views of capitalism and space, offering a new perspective on both the modern metropolis and globally operating companies active within our distinctly urban culture.
Critical Materials takes a case-study approach, describing materials supply-chain failures from the bronze age to present day. It looks at why these failures occurred, what the consequences were, and how they were resolved. It identifies key lessons to guide responses to current and anticipated materials shortages at a time when the world's growing middle class is creating unprecedented demand for manufactured products and the increasingly exotic materials that go into them. This book serves as a guide to materials researchers and industrial end-users for finding effective approaches to shortages of specialty materials. The lessons in the book are also appropriate to those who use materials and for those involved in manufacturing supply-chain management and industrial design. - Instructs the reader on how to select the most effective strategies to deal with materials supply-chain failures - Discusses technical feasibility, economic viability and the political context - Includes an extensive use of case studies to illustrate key concepts of criticality
- NEW! Co-editor John W. Hermanson joins the team of Evans and de Lahunta to provide further expertise in the areas of anatomy and comparative anatomy. - NEW! Upgraded digital radiology with a special emphasis on MR and CT scans has been incorporated throughout the text.
Now in full-color, Miller's Anatomy of the Dog, 4th Edition features unparalleled coverage of canine morphology, with detailed descriptions and vivid illustrations that make intricate details easier to see and understand. Updated content reflects the latest knowledge on development, structure, and function, making this a valuable reference for anatomists, veterinary students, technicians, clinicians, experimentalists, and breeders. It is also useful in specialty fields such as mammalogy, biomechanics, and archaeology. - Chapters are logically organized by body system for quick reference. - Contributors are expert anatomists who provide the most current information and share their knowledge of particular structures. - An introductory chapter includes breed categories from both the American and British Registry Clubs to give you a clearer understanding of dog breeds and how they are determined. - NEW! Elaborate, full-color illustrations created by an expert medical illustrator bring canine structures to life and enhance your understanding of their function. - New and updated content reflects the most up-to-date nomenclature from the Nomina Anatomica Veterinaria (NAV) — the standard reference for anatomical (zootomical) terminology. - Text and bibliographic references from the most current literature allow you to access all primary sources of information for further study and interpretation.
This book scrutinizes the relationship between contemporary TV shows and space, focusing on the ways in which these shows use and narrate specific spatial structures, namely, spaces far away from traditional metropolises. Beginning with the observation that many shows are set in specific spatial settings, referred to in the book as “nonplace territories” – e.g., North Jersey, New Mexico, or rural and suburban Western Germany – the author argues that the link between such nonplace territories and shows such as The Sopranos, Breaking Bad, or Dark is so intense because the narrative structure functions similarly to these territories: flat, decentralized, without any sense of structure or stable hierarchy. The book takes three different perspectives: first, it looks at the rationale for combining TV shows and nonplace territories from the viewpoint of narrative strategy. It then thinks through what these strategies mean for practicing architects. Finally, it approaches the arguments made before from a “user” perspective: what does this narrative mirroring of social-spatial reality in places such as Albuquerque or Jersey City mean for people living in these places? This new approach to architecture and space on screen will interest scholars and students of television studies, screen architecture, media and architectural theory, and popular culture.
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