Architects and Global Marketing – Buying and Selling in China

Abstract

This essay will discuss the phenomenon of world-famous architects in the neoliberal age and their propagation within the Chinese market, focusing on the practice of Bjarke Ingels Group (BIG). This essay seeks to examine the mechanisms behind BIG’s global stardom. It outlines BIG’s rise to fame and entry into the Chinese architectural market. Taking the case of the Danish Pavilion, it then analyses specific marketing strategies BIG have adopted in advertising the Pavilion to Chinese audiences. It then discusses China’s peculiar market condition and extrapolates BIG’s common strategies for brand building. The essay argues that BIG’s success is underpinned by the use of visual communication for self-promotion, which appeals to wider audiences. Their success is also a testimony of pervasive consumerism. However, the Danish Pavilion does relate to history, culture, or society. The phenomenon of BIG’s architectural stardom is also worrying for the architecture industry and education, which remains historically embedded in the notion of the singular author and egocentrism.

References
[1] Harvey,D.(2005)‘Introduction’in A brief history of neoliberalism.Oxford;NewYork:OxfordUniversity Press, 2005, p.2 – p.10.

[2] Fowler, J. (2012) ‘The prince: Bjarke Ingels’s social conspiracy’, Thresholds, (40), pp. 225–232. Available at: http://ez.xjtlu.edu.cn/login?url=http://search.ebscohost.com/login.aspx?direct=true&db= bvh&AN=683225&site=eds-live&scope=site (Accessed: 29 October 2018).

[3] Chayka, K. (2018) ‘The Brand Builder’, New Republic, 249(5), pp. 58–63. Available at: http://ez.xjtlu.edu.cn/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN= 128988880&site=eds-live&scope=site (Accessed: 11 October 2018).

[4] Troiani, I. (2018) ’Neoliberalism, Architectural Design and the Happy ’flow of images’: Reading BIG’s Archicomics’ in The Process and Practice Across Design Disciplines (PPADD) 2018 AUS Conference Proceedings edited by Brian Dougan, Kevin Mitchell and Greg Watson, February 2018, American University of Sharjah, pp. 53-59.


[5] Deamer, P. and Richards, W. (2017) ‘The architectural imperative: value is created, not assigned’, Architect (Washington, D.C.), 106(9), p. 77. Available at: http://ez.xjtlu.edu.cn/login?url=http://search. ebscohost.com/login.aspx?direct=true&db=bvh&AN=775353&site=eds-live&scope=site (Accessed: 29 October 2018).

[6] The Funabulist (n.d.) Critique of a New ”Post-Ideological” Architectural Paradigm. Available from: https://thefunambulist.net/architectural-projects/architectural-theories-critique-of-a-newarchitectural-paradigm (Accessed: 12 March 2019).

[7] MacLeod, F. (2017) ”Baby Rems” and the Small World of Architecture Internships. [Online] Arch Daily. Available from https://www.archdaily.com/769864/baby-rems-and-the-small-world-ofarchitecture-internships (Accessed: 30 October 2018).

[8] Ingels, B. (2010) Yes is more: an archicomic on architectural evolution. Köln: Evergreen, c2010.

[9] Koolhaas, R. et al. (1998) Small, medium, large, extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau. New York, N.Y.: Monacelli Press, c1998.

[10] Balik, D. and Allmer, A. (2015) ‘A “Big” Yes to Superficiality: Arlanda Hotel by Bjarke Ingels Group (1)’, METU Journal of the Faculty of Architecture, 32(1), pp. 185–202. doi: 10.4305/METU.JFA.2015.1.10.

[11] WHATA. (2009) ”WhATA Interviews Bjarke Ingels from BIG” [Online] WHATA. Available from: http: //whata.org/blog-en/whata-interviewes-bjarke-ingels-from-big (Accessed: 30 October 2018).

[12] Florida, R. L. (2004) The rise of the creative class: and how it’s transforming work, leisure, community and everyday life. New York, NY: Basic Books, 2004.

[13] Davidson, J. (2017) ‘Designing tomorrow’, Smithsonian, p. 55. Available at: http://ez.xjtlu. edu.cn/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsgea&AN=edsgcl. 497443690&site=eds-live&scope=site (Accessed: 30 October 2018).

[14] Ingels, B. (2015) Hot to cold: an odyssey of architectural adaptation. Koln: Taschen, [2015].

[15] Bylok, F. (2015) ‘Are There Any Limits of Consumerism in the Contemporary World?’ Konsumpcja i Rozwój,11(2),pp.74–87.Availableat:http://ez.xjtlu.edu.cn/login?url=http://search.ebscohost.com/login. aspx?direct=true&db=bsu&AN=117405326&site=eds-live&scope=site (Accessed: 28 December 2018).

[16] Hurley, A. K. (2015) ‘It’s a big BIG world: a show documents Bjarke Ingels Group’s rise’, Architectural record, 203(3), p. 47. Available at: http://search.ebscohost.com.ez.xjtlu.edu.cn/login.aspx?direct= true&db=bvh&AN=731000&site=ehost-live (Accessed: 11 October 2018).

[17] Ingels, B. (2012) ‘Public Participation Extreme’, Perspecta, p. 127. Available at: http://ez.xjtlu.edu.cn/ login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.24728122&site= eds-live&scope=site (Accessed: 30 October 2018).

[18] Ren, X. F. (2008) ‘Architecture as Branding: Mega Project Developments in Beijing’, Built Environment, 34(4), pp. 517–531. Available at: http://search.ebscohost.com.ez.xjtlu.edu.cn/login.aspx?direct= true&db=vth&AN=36003053&site=ehost-live (Accessed: 29 October 2018).

[19] Bosker, B. (2016) ‘Odd one’s out: China’s ban on weird architecture is a global power play’, The New Republic, p. 16. Available at: http://ez.xjtlu.edu.cn/login?url=http://search.ebscohost.com/login. aspx?direct=true&db=edsgea&AN=edsgcl.452948322&site=eds-live&scope=site (Accessed: 11 October 2018).

[20] Tian, K. and Dong, L. (2011) Consumer-citizens of China: The Role of Foreign Brands in the Imagined Future China. London: Taylor & Francis [CAM] (Routledge Contemporary China Series). Available at: http://ez.xjtlu.edu.cn/login?url=http://search.ebscohost.com/login.aspx?direct=true&db= edsebk&AN=345341&site=eds-live&scope=site (Accessed: 5 March 2019).

[21] Sklair, L. (2017) ‘Iconic Architecture and the Rise of Globalizing Cities’, Brown Journal of World Affairs, 23(2), pp. 127–137. Available at: http://ez.xjtlu.edu.cn/login?url=http://search.ebscohost.com/ login.aspx?direct=true&db=bth&AN=124009988&site=eds-live&scope=site (Accessed: 5 March 2019).

[22] Klingmann, A. (2007) Brandscapes: architecture in the experience economy. Cambridge, Mass.: MIT Press, c2007.

[23] Glass, C (1971) ‘The Metaphysics of Pop Architecture’, Soundings: An Interdisciplinary Journal, (2), p. 202. Available at: http://ez.xjtlu.edu.cn/login?url=http://search.ebscohost.com/login.aspx?direct= true&db=edsjsr&AN=edsjsr.41177806&site=eds-live&scope=site (Accessed: 28 December 2018).

[24] Koolhaas, R. & Miyoshi, M. (1997) ‘XL in Asia: A Dialogue between Rem Koolhaas and Masao Miyoshi’, boundary 2, (2), p. 1. doi: 10.2307/303761.

[25] Koolhaas, R. (2002) ‘Junkspace’, October, 100, p. 175. Available at: http://ez.xjtlu.edu.cn/login?url=http: //search.ebscohost.com/login.aspx?direct=true&db=edsjsr&AN=edsjsr.779098&site=eds-live&scope= site (Accessed: 5 March 2019).

[26] Betsky, A. (2014) The Evil of Banality and How Architects Can Fight It. [Online] Architect. Available from: https://www.architectmagazine.com/design/the-evil-of-banality-and-how-architectscan-fight-it_o (Accessed: 12 March 2019).


[27] Deamer, P. (2014) Invitation to a Dialogue: Less Ego in Architects. [Online] The New York Times. Available from: https://www.nytimes.com/2014/08/04/opinion/invitation-to-a-dialogue-lessego-in-architects.html?_r=0 (Accessed: 12 March 2019).

[28] Galenson, D. W. (2018) ‘Research Paper: Pricing revolution: From abstract expressionism to pop art’, Research in Economics, 72, pp. 86–100. doi: 10.1016/j.rie.2017.09.004.