Strengthening the Cohesive Structure of Organizational Culture
Through Branded Office Environments
By
Leylan Fernandes-Richards
A thesis submitted in partial fulfillment of the requirements for the degree of
Master of Arts in Interior Design
Washington State University
Department of Interior Design
May 2005
Branded Office Environments
Table of Contents
Abstract
4
Chapter One: Introduction
5
Statement of Problem
5
Purpose
6
Justification
7
Chapter Two: Review of Literature (Phase One)
8
What is a Brand?
9
Current Status of Branded Offices
5
Components of Brand
11
Physical Facet
12
Personality Facet
18
Cultural Facet
19
Communicating a Visual Message
23
Summary
25
Chapter Three: Methodology
28
Phase One
28
Phase Two
29
Phase Three
30
Phase Four
30
Expected Outcomes
30
Chapter Four: Framework Development
32
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Branded Office Environments
Case Study Analysis (Phase Two)
32
Starbucks
32
Muzak
39
Ogilvy & Mather
45
Reebok
50
Girvin
55
Case Study Evaluation (Phase Three)
Guiding Framework for Design Project
Chapter Five: Test Findings in Design Project (Phase Four)
62
65
66
Problem Statement
66
Project Site
67
Brand Assessment for Athena
68
Design Program
73
Design Solution
74
95
Chapter Six: Conclusion
Findings
95
Limitations
97
Possible Further Study
98
Summary
100
References
102
Working Bibliography
104
Appendices
106
Appendix A - Literature Review Concept Map
2
106
Branded Office Environments
Appendix B - Project Road Map
107
Appendix C - Brand Assessment Form
108
Appendix D - Project Site Map
109
Appendix E - Workstation Furnishings, Finishes and Equipment
110
Appendix F - Project Lighting
114
Appendix G - Project Furnishings, Finishes and Equipment
115
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Branded Office Environments
Abstract
Organizational changes such as a shift to a less hierarchical management
structure, an increase in diversity among employees and an increase in mobile or
telecommuting employees are creating powerful new ways of working which increase
efficiency and productivity yet they are also resulting in a loss of organizational identity
and overall cohesion among organizational members.
The research of Kevin Rock and Michael Pratt determined that an environment
that encourages identification among employees does, in fact, lead to benefits for
organizations and its members. These benefits include lower levels of turnover and
increases in employee motivation, job satisfaction, and compliance.
The purpose of this thesis project is to explore corporate branding and its
application to workplace design as a strategy for creating office environments that
encourage identification.
Through a review of existing literature, this research identified brand as a tool
used to visually communicate three components of brand; the physical facet, personality
facet and the cultural facet. The research also identified three methods of visual
communication; representation, abstraction, and symbolism. These findings led to a
matrix used to identify brand communication through office space.
Through an investigation of five case studies, the matrix was used to assess each
organization’s brand and branded office environment. This evaluation led to findings
identifying current approaches to branded office environments and revealed an approach
to branding office space that had not yet been explored. Through a design project, this
unexplored approach was tested. It was determined that using all three communication
tools to communicate all three facets of a brand message could be used as a method to
branding office space that communicates the entire brand message and conveys it using
both subtle and overt messages. Although this approach has certain limitations such as a
restriction on the type of organization this branding approach can be applied to and the
need to be aware of conflicting messages communicated through the design, it does
provide designers with a guiding framework to use when branding office space. The
current move toward branding office space establishes a need for this type of research. As
branded office environments gain more popularity and organizational structures continue
to change, utilizing the concept of branded office environments as a way to re-establish
organizational identity and strengthen the cohesive structure of organizational culture will
become more valuable.
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Branded Office Environments
Chapter One: Introduction
Statement of Problem
As organizations transition into the 21st century, management structures,
employee demographics and communication flows are changing within organizations.
Some of these changes include: a shift to a less hierarchical management structure, an
increase in diversity among employees and an increase in mobile or telecommuting
employees. As these shifts are creating powerful new ways of working that result in
increased efficiency and productivity, they are also resulting in a loss of organizational
identity and overall cohesion among organizational members.
The first organizational change creating a loss of identity is a move away from a
hierarchical management structure towards a more egalitarian approach. Although this
shift resolves issues of excessive control and inequality it also reduces the amount of
influence management has over the motivational aspects of organizational culture.
Employees who are empowered and given more decision making capability feel less
pressure to be loyal to the organization which results in a lost sense of membership
among employees (Rock & Pratt, 2002, p. 51).
The second change affecting organizational identity is an increase in diversity
among organizational members. With the disappearing hierarchical structure and a
movement toward a more diverse workforce, employees are associating themselves with
groups based on cultural and social related characteristics rather than work group or job
characteristics. This produces motivation based on social rewards, rather than
organizational rewards, and weakens the “oneness” of the organization (Rock & Pratt
2002, p. 51).
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Branded Office Environments
Finally, the third change affecting organizational identity is a move to a more
flexible and mobile workforce. Employees are now working from home, working from
client’s offices or working on the road. All of these conditions lead to a lack of physical
and social contact with other organizational members, resulting in a less cohesive
organization that lacks a common identity.
The research of Kevin Rock and Michael Pratt determined that an environment
that encourages identification among employees does, in fact, lead to benefits for
organizations and its members. Some of these benefits include the fulfillment of basic
human needs, such as safety, reduction in uncertainty, a sense of belonging, and selfesteem. Fulfillment of employee needs also leads to benefits for the organization, which
include lower levels of turnover and increases in employee motivation, job satisfaction,
and compliance (Rock & Pratt 2002, p. 52). Creative solutions are essential if
organizations are to create an environment that encourages identification among
employees.
Purpose
The purpose of this thesis project is to explore corporate branding and its
application to workplace design as a strategy for creating office environments that
encourage identification. Expressing a company’s brand through the office environment
can communicate what the brand represents, including organizational goals, values, and
missions. A consistent message reflecting these values will create an organizational
culture that fosters a sense of identification, cohesion and belonging among employees.
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Branded Office Environments
Justification
This research project will be of value to the design profession in three distinct
ways; 1) it will serve as a tool for designers to use when designing branded office
environments, 2) it will serve as a method for using interior design as a way to support
management strategies in workplace settings, and 3) it will prove to be valuable based on
the research and evidence that supports it.
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Branded Office Environments
Chapter Two: Review of Literature
Understanding the concept of brand as well as the current status of branded
offices is important for understanding how to apply the concept of brand to the design of
office space. (See Appendix A for literature review concept map). In order to
understand the concept of brand, a review of existing literature regarding brand was
undertaken. This was followed by a review of the current status of branded offices.
The first step in the literature review process was to define brand as it applies to
this thesis project. After defining brand, an examination of the components of a brand
was necessary to determine which components (or facets) of brand are relevant to the
thesis project. The next step was to understand how to identify and assess the relevant
brand facets. The final step in the literature review was to use the definition of brand
created in the first step to further identify elements of research needed for the completion
of this thesis exploration. Those elements were identified as visual communication tools,
and are discussed in the following literature review along with a detailed description of
brand and branded offices, followed by a brief summary of how this review of literature
is significant to this thesis project.
What is a brand?
Brand has been defined by numerous people in various ways. The American
Heritage Dictionary defines brand as “a mark indicating identity or ownership” (The
American Heritage Dictionary, 2000). Therefore, to brand something is to mark it in
such a way that indicates a particular identity or specific ownership.
To determine what brand means specifically as it relates to corporate branding, I
looked to three different corporate brand specialists. Landor Associates, a branding and
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Branded Office Environments
design consultancy firm, defines a corporate brand as “the gestalt of the organization,
including its philosophy and culture as well as its physical characteristics” (Landor
Associates).
Leslie de Chernatony and Malcolm McDonald state that “brands are perceptions
in consumer’s minds” (de Chernatony & McDonald 2003, p. 40). Such perceptions,
based on how consumers view specific brand attributes, are the result of the processing
and evaluation of branded information communicated to them through the use of
branding techniques (de Chernatony & McDonald 2003, p. 40). Jean-Noel Kapferer
states that brands can only exist if they communicate, therefore “since a brand is a speech
in itself it can thus be analyzed like any other speech or form of communication”
(Kapferer 2000, p. 105). Understanding these definitions led to the definition of brand
that I used for the purposes of this project. This definition of brand is: a tool used to
visually communicate specific brand attributes, representing the personality, culture and
physical characteristics of an organization indicating identity and ownership.
Current status of branded offices
In a white paper produced by Steelcase, titled “Space as Brand Experience”,
Jeremy Myerson uses the term “narrative office” to describe “a new phenomenon – the
office as a brand experience” (Myerson 2004, p. 1). Companies such as Reebok,
Quicksilver, and Muzak have begun to transform their office environments into places
that reflect their brand. For example, Reebok, an athletic apparel company, designed
their world headquarters with the idea of athletics, energy and fun in mind. The design of
the building’s façade captures the essence of the curved segment of a sports stadium.
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Branded Office Environments
One enters the building via a running track and the shape of the building plan suggests
the coiled energy of a runner in their starting blocks (Myerson 2004, p.1).
Myerson acknowledges that not everyone is excited about the “narrative” office
concept. Some view the idea of brand expression through all areas of corporate life as
overbearing and controlling. Myerson states, “not everyone believes the intense use of
messaging in [office] space supports greater productivity, as the champions of the
narrative office believe. Some even see an insidious new form of Taylorism in the mind
control inherent in such tactics” (Myerson 2004, p. 4). To address this issue, Myerson
looked to the work of the design firm Ziona Strelitz Associates. Ziona Strelitz Associates
has conducted numerous post occupancy studies in branded office spaces, many of which
have led her to conclude that “some of the most heavily branded workplaces are also
some of the most oppressive places to work. Narrative offices are not always well
received because too many designers go at it from a simplistic graphical point of view
which jars” (Myerson 2004, p. 4). Myerson concludes that more subtlety is needed when
designing branded office environments. A design that expresses the essence of a brand
yet does not bombard employees with bright company colors or extensive usage of the
company’s logo can create an office environment that is pleasant to work in while also
providing a common identity for organizational members.
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Branded Office Environments
Components of Brand: Brand identity prism
According to Jean-Noel Kapferer, author of Strategic Brand Management (1998)
brand identity can be represented by a hexagonal prism (see Figure 1).
Figure 1 (brand identity prism)
(Kapferer 2000, 100)
The hexagonal brand identity prism identifies the six facets of brand identity: the
physical facet, the personality facet, the cultural facet, the relationship facet, the
customer’s reflection facet, and the customer’s self-image facet. According to the brand
identity prism, the top portion of the prism represents the portrayal of the sender
(company) and the bottom portion of the prism represents the portrayal of the recipient
(stakeholders). The physical, personality and cultural facets represent the brand, while
the reflection and self-image facets represent the brand’s consumers. The relationship
facet represents the relationship between the brand and the consumer. For purposes of
this study, only the facets that solely reflect brand identity will be analyzed. This will
allow the focus to remain on the portrayal of the organization’s brand, rather than the
portrayal of the organization’s stakeholders, and it will retain focus on the relationship
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Branded Office Environments
between the brand and employees, rather than the relationship between the brand and the
consumer. This maintains consistency with the project’s goal; to strengthen internal
identity and cohesion. Therefore, the physical facet, the personality facet and the cultural
facet will be used in this thesis to assess a brand’s identity.
Physical Facet
According to Kapferer, the physical facet of a brand identity is simply the
physical appearance of a brand. Examples of this are, Coca-Cola’s unique bottle design
or Nike’s “swoosh” logo. The physical appearance of a brand is communicated through
logo, typeface, color, shapes, and slogans.
Logo
“A logo has come to mean a symbol, a name set in a distinctive typographical
style, or a combination of both. A logo communicates with intent to stir emotion”
(Rowden 2000, p. 143). According to Alina Wheeler, there are four different types of
logos: wordmark, letterform marks, pictorial brandmarks, and abstract brandmarks
(Wheeler 2003, p. 44). Mark Rowden also acknowledges multiple types of logos, yet he
classifies them as: logotype and symbol (Rowden 2000, p. 146).
A logotype is usually the company’s name consistently used in a defined typeface
with or without a border design used to strengthen its appearance. A logotype is capable
of communication without any other symbol or device (see Figure 2).
Figure 2 (logotype)
(Rowden 2000, 147)
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Branded Office Environments
A wordmark also utilizes the company’s name but adds meaning through the use
of a distinctive font or abstract or pictorial elements (see Figure 3).
Figure 3 (wordmark for Dell & IBM)
(Wheeler 2003, 47)
Letterform marks are a single letter used to communicate a distinctive graphic
focal point. The design of the letterform mark is unique and imbues a significant
personality and meaning (see Figure 4).
Figure 4 (letterform mark for Energy Dept. Store & Brokers Insurance)
(Wheeler 2003, 49)
A pictorial brandmark uses a literal and recognizable image. The image can
represent the name of the company, the company’s mission, or it can be symbolic of the
brand’s attributes or values (see Figure 5).
Figure 5 (pictorial brandmark for greyhound & NBC)
(Wheeler 2003, 51)
An abstract pictorial brandmark or symbol uses visual form to convey a brand’s
essence without any words or names attached to it (see Figure 6).
Figure 6 (abstract brandmark for Concentrics & Torin )
(Wheeler 2003, 53)
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Using a symbol as a logo can be read ambiguously, yet it also has the potential to
convey greater meaning than any of the other logo types (Wheeler 2003, pp. 44-53)
(Rowden 2000, pp. 146-152).
Typeface
In addition to communicating a word’s message a typeface can communicate
numerous other subliminal messages. A typeface can convey feeling, it can have
personality and it can reflect culture. The size, color, shape, and level of detail of the
typeface can also imbue meaning (Wheeler 2003, pp. 88-89).
Mark Rowden suggests that a typeface is a voice of character. He states, “The
best typography has grace and a certain invisibility” (Rowden 2000, p. 185). Typefaces
also have a pitch, they can shout or they can whisper. Some are friendly and others are
foreboding. Others are humorous, serious, dull, clinical or austere (Rowden 2000, p.
185) (see Figure 7).
“Every typeface is a voice of personality”
Figure 7 (different logo voices)
(Rowden 2000, 187)
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Color
“Color is used to evoke emotion, express personality, and stimulate brand
associations” (Wheeler 2003, p. 84). Ensuring exact reproduction of the brand’s color is
critical when using color in different mediums. Mark Rowden points out that colors look
different under different light sources and therefore a brand color should always be
viewed under a neutral or natural light source. He also claims that color changes
depending on the material and expanse of the surface to which the color is applied. For
example, a large surface area tends to reflect more light which lightens the color, and a
smaller surface tends to absorb more light, darkening the color (Rowden 2000, p. 164).
This attention to detail exemplifies the importance of precise color in brands.
Bright colors tend to suggest vitality, youth and optimism towards the future,
while darker colors communicate maturity and values established in the past. Pastels
appear gentle, yet indefinite. Rowden states, “using pastels may suit some applications
but can be positively wrong in others” (Rowden 2000, p. 164). As many of the colors in
the design fields are born out of the fashion world, a variable and erratic industry,
Rowden also warns that such colors can burn out quickly. He states, “Neutral tones offer
the greatest security from the ravages of fashion, though their prominence in the league
tables of style will still vary” (Rowden 2000, p. 164).
Shapes
Shapes are suggestive in meaning and choosing the right shapes to convey a
company’s brand identity can be critical. In addition, “space, as well as size,
significantly contributes to your identity. The gaps or interaction of the spaces between
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these shapes set the tone of pattern as well as the apparent tension, movement or stability
of the design” (Rowden 2000, p. 176).
Gunther Kress and Theo Van Leeuwen discuss the significance and meaning of
shapes in their book Reading Images. They suggest that shapes are charged with
meaning and have the power to directly affect our nervous system. They also
acknowledge that numerous symbologists and semiologists have developed various
meanings for the three basic geometric shapes: the circle, the square and rectangle and
the triangle. Kress and Van Leeuwen suggest that in general terms, the square and the
rectangle represent structure and foundation as they can be stacked and aligned with one
another. They say, “squares and rectangles are the elements of the mechanical,
technological order of the world of human construction” (Kress & Van Leeuwen 1996, p.
52). Kress and Van Leeuwen suggest that the circle denotes endlessness, and represents
the organic, while the triangle, like the square, is an element of the mechanical,
technological order. But, unlike the square, the triangle, especially when tilted, can
convey directionality (Kress & Van Leeuwen 1996, p. 52).
An example of a brand’s shape and its conveyed meaning is the Nike swoosh,
shown in figure 8. This shape conveys directionality, excitement, and speed for the
athletic apparel company.
Figure 8 (Nike’s brand shape)
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Slogan
A slogan or tagline is a short phrase that captures a company’s brand essence,
personality, and positioning, and distinguishes it from competitors. Wheeler identifies
five different types of taglines: imperative, descriptive, superlative, provocative, and
specific. The imperative tagline commands action and usually starts with a verb, i.e.,
“Invent” (see Figure 9).
Figure 9 (Imperative Slogan)
The descriptive tagline describes the service, product or brand promise, i.e., “We
bring good things to life” (see Figure 10).
Figure 10 (descriptive slogan)
The superlative tagline positions the company best in class, i.e., “The ultimate
driving machine” (see Figure 11).
Figure 11 (superlative slogan)
The provocative tagline is thought provoking and is frequently a question, i.e.,
“Got Milk?” (see Figure 12).
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Figure 12 (provocative slogan)
And finally, the specific tagline establishes leadership of a category, i.e.,
“Empowering the internet generation.”
A company’s slogan can help reveal the personality of the brand. For example,
“Just Do It” expresses excitement and “Diamonds are Forever” expresses competence.
Personality Facet
The personality facet communicates what kind of person a brand would be if it
were human. Using human traits to communicate brand identity creates a clear
association for stakeholders. Human characteristics are identifiable and stakeholders can
relate to them easily.
Brand Personality
According to Prophet Brand Strategy, a brand development and research firm,
David Aaker is one of the nation’s most respected brand specialists. Aaker states, “A
brand personality can be defined as the set of human characteristics associated with a
given brand” (Aaker 1996, p. 140). Using the brand personality scale, Aaker tested 60
well known brands and 114 personality traits on 1,000 U.S. respondents and found that
five terms emerged as main brand personality factors. These five factors are: sincerity,
excitement, competence, sophistication, and ruggedness (Aaker 1996, p. 143). Aaker
uses descriptor terms to further define these personality classifications. Sincerity is
down-to-earth, honest, wholesome, and cheerful. Excitement is daring, spirited,
imaginative, and up-to-date. Competence is reliable, intelligent, and successful.
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Sophistication is upper class and charming. And, ruggedness is outdoorsy and tough
(Aaker 1996, p. 144).
One can assess a brand’s personality based on four factors: user imagery,
sponsorship, age, and symbol (Aaker 1996, pp. 146-148).
User Imagery
By identifying either typical users or idealized users, one can assess a brand’s
personality. As users are already people their personality traits can be transferred directly
to the brand’s personality (Aaker 1996, p. 147). For example, people who wear Calvin
Klein clothing can be labeled youthful and sexy, therefore the brand is also considered
youthful and sexy.
Sponsorship
Identifying what events or programs a brand sponsors provides another means of
identifying a brand’s personality (Aaker 1996, p. 147). As such, Ben & Jerry’s Ice
Cream portrays a responsible and environmentally aware personality through its support
for the fight against global warming and Adidas portrays an energetic and traditional
personality through its sponsorship of futbol (soccer) tournaments around the world.
Age
Another category used to assess brand personality is age. Brands which have
recently entered the market are associated with more youthful characteristics and older
brands tend to reflect traditionalism and sophistication. For example, Cingular, a recent
entrant into the wireless provider market, portrays youthfulness and excitement and
Tiffany’s, an established jewelry designer, portrays traditionalism and sophistication.
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Symbols or Mascots
And finally, symbols or mascots also reveal brand personality. For example, the
Brawny man signifies strength and power whereas the Pillsbury Doughboy is likable and
happy and portrays those traits.
Cultural Facet
A brand also represents an organization’s culture. Mark Rowden suggests that an
organization’s brand identity can send one set of messages, yet the organization’s culture
or behavior can either affirm or deny those messages (Rowden 2000, p. 97).
The cultural facet represents “the set of values feeding the brand’s inspiration”
(Kapferer 2000, p. 101). The cultural facet refers to the organization’s fundamental
ideals and set of values (Kapferer 2000, p. 101).
Organizational Culture
Terrance Deal and Allen Kennedy have extensively researched the concept of
organizational culture and claim that a strong culture recognizes four key elements:
values, heroes, rites and rituals, and communications (Deal & Kennedy 1982, pp. 13-14).
Values are described as “the basic concepts and beliefs of an organization” (Deal &
Kennedy 1982, p. 14). They are communicated to, and shared by all, members of the
organization and serve as the root of the organization’s behavior. “As the essence of a
company’s philosophy for achieving success, values provide a sense of common direction
for all employees and guidelines for their day to day behavior” (Deal & Kennedy 1982, p.
21).
Heroes serve as role models for organizational members. Heroes can be the
company’s founder, a non-organizational member who provides a source of inspiration,
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or an internal figure who has achieved success in innovative ways. “Heroes personify the
organization’s values and epitomize the strength of the organization” (Deal & Kennedy
1982, p. 37).
Rites and rituals consist of the systematic and programmed routines of day-to-day
life in the company. These routines occur in varying degrees and Deal and Kennedy
label these various forms as play, ritual, and ceremony. Play is the creative side of the
organization, which is meant to encourage tension release and promote innovation.
Rituals are basic rules and habits which guide the behavior in the organization and are
based on the organization’s cultural values. And ceremonies are events that celebrate
heroes and milestones. Rituals become commonplace and are a part of daily life, whereas
ceremonies are extraordinary and become a remembered event (Deal & Kennedy 1982, p.
62).
The final element of organizational culture according to Deal and Kennedy, is
communication and the cultural network. “We think that 90 percent of what goes on in
an organization has nothing to do with formal events. The real business goes on in the
cultural network” (Deal & Kennedy 1982, p. 86). The cultural network is the primary but
informal means of communication within an organization. Examples include: email,
serendipitous meetings in public office areas, and drop-in or informal meetings in
individual’s offices.
Deal and Kennedy claim that by assessing an organization’s culture based on
these four elements it is possible to classify an organization’s culture according to the
four main types of corporate cultures: tough guy macho culture, work hard/play hard
culture, bet your company culture, and process culture.
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The “tough guy macho culture” tends to be young, is focused on speed rather than
endurance or long term value, and functions under intense pressure. The pressures of this
culture are so much that people tend to burn out quickly and easily. This culture values
the best, biggest and greatest and in order to survive, one must maintain a tough attitude
(Deal & Kennedy 1982, pp. 108-113).
The “work hard/play hard culture” is highly action oriented and work focuses on
team activity rather than individual work. This culture also has a short term perspective,
which sometimes results in “quick fix” solutions and quick tangible feedback. Strong
values are placed on customers and their needs and success is believed to be the result of
persistence. Common language, energetic games and routine rituals keep motivation up
in this culture (Deal & Kennedy 1982, pp. 113-116).
The third type of culture that Deal and Kennedy have identified is the “bet your
company culture”. This type of culture functions on a top-down decision making system
and the culture’s values focus on the future rather than the present. Respect is given to
authority and to self directed employees, and immaturity is not tolerated. Mentors are the
backbone of this culture which is vulnerable to short-term fluctuations in the economy
(Deal & Kennedy 1982, pp. 116-119).
Finally, Deal and Kennedy have identified the “process culture” as being low risk
with maximum red tape. This culture values getting the process and the details right,
rather than just focusing on the end product. Precautions are taken seriously within this
tightly structured hierarchical culture (Deal & Kennedy 1982, pp. 119-123).
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Communicating a visual message
Brand, as defined for the purposes of this study, is a tool used to visually
communicate an organization’s brand message. According to Donis A. Dondis, a visual
message can be communicated on three different levels. In his book titled, A Primer of
Visual Literacy, Dondis states, “We express and receive visual messages on three levels:
representationally – what we see and recognize from environment and experience;
abstractly – the kinesthetic quality of a visual event reduced to the basic elemental visual
components, emphasizing the more direct, emotional, even primitive message-making
means; and symbolically – the vast world of coded symbol systems which man has
created arbitrarily, and to which he has attached meaning” (Dondis 1973, p. 67).
Representation is a realistic replication of the object or message, like a
photograph, a three-dimensional model or an impressionistic sketch. Malnar and
Vodvarka interpret representation as, “An effort to record, with selective accuracy, what
actually appears before us” (Malnar & Vodvarka 1992, p. 79). A photograph of a bird is
shown in figure 13 as an example.
Figure 13 (example of representation visual communication tool)
(Dondis, 1973, 67)
Dondis claims that through representation, a viewer’s response to this image
would be “I see a bird”.
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Abstraction is a suggestion of reality. “The process of abstraction is one of
distillation, the reduction of multiple visual factors to only the essential and most typical
features of what is being represented” (Dondis 1973, p. 71). Abstraction, visually, is
simplification toward a more intense and distilled meaning. According to Malnar and
Vodvarka, “Abstraction is concerned with the careful delineation of particular aspects of
a visual reality according to our interests” (Malnar & Vodvarka 1992, p. 79). Figure 14
shows another sketch of a bird, this one revealing less detail and a reader of this image
would possibly respond by saying “I see flight” rather than “I see a bird”.
Figure 14 (example of abstraction visual communication tool)
(Dondis, 1973, 71)
Symbolism requires ultimate simplicity, the distillation of visual detail to the
irreducible minimum. The symbol must be simple and refer to a group, an idea, a
business, an institution, or a political party. It is even more effective for the transmission
of information if it is a totally abstract figure. “Symbolism represents a generic view of
that reality’s type in order to communicate a conceptual message” (Malnar & Vodcarka
1992, p. 79). Figure 15 shows another sketch of a bird, this is a recognized symbol for
peace.
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Figure 15 (example of symbolism visual communication tool)
(Dondis, 1973, 72)
Dondis states, “To be visually literate, it is extremely necessary that the creator of
the visual work be aware of each of these individual levels; but also it is important that
the viewer or subject have equal awareness of them” (Dondis 1973, p. 82). Dondis
recognizes that the creator of a visual message moves from abstraction to symbolism to
representation and the receiver of a visual message moves from representation to
symbolism to abstraction. For example, the creator will move from abstract sketches and
explorations to more refined versions to a final choice or decision. The reverse is true for
the receiver. The receiver will first view recognizable content; either representations or
symbols which are easily definable. Next, the receiver sees the compositional content;
the basic design elements and techniques used in combination to create abstract
meanings. Essentially, all three levels of a visual message can be used to communicate.
This type of visual message approach can be used to communicate brand
messages in the work environment by providing a means of communicating that does not
overwhelm employees with “in-your-face” brand messages which can create an
environment that feels overbearing and controlling.
Summary
“Treating your office space not as a neutral asset but as an opportunity
to express what your brand really stands for is seen by a growing
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number of business leaders as making good motivational sense”
(Myerson 2004, p. 2).
The above quote recognizes the current movement toward using office space to
convey a company’s brand message. As the literature review reveals, the design of
branded offices needs to be carefully considered so as not to overwhelm or bombard
employees with organizational propaganda. Therefore, to uncover the true essence of a
brand, the information recorded in the literature review will be useful.
Determining the physical facet of a brand’s identity will help designers
understand the aesthetic graphical qualities of a brand: what they communicate and how
they communicate. Understanding the personality facet of a brand’s identity will provide
designers with the knowledge to determine the humanistic qualities of a brand which can
help designers begin to translate brand identity in visual representation. And finally,
understanding the cultural facet of a brand’s identity will give designers the knowledge
necessary to assess and identify a brand’s culture. By understanding the behavior of an
organization designers can support that behavior through physical space: the office
environment.
The literature review also provides an understanding of the three methods of
communicating a visual message according to Dondis. Using the three communication
tools, representation, symbolism and abstraction, both subtle and overt messages can be
used to visually communicate an organization’s brand message.
Through research and design exploration this thesis aims to understand how to
assess the physical, personality, and cultural facets of a brand’s identity in order to
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Branded Office Environments
visually communicate a brand’s message in an office environment, thus creating a
method for designers to use when designing branded office environments.
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Branded Office Environments
Chapter Three: Methodology
The methodology for this project required four phases. The first phase was a
review of the existing literature regarding brand and branded office environments. The
second phase was a study of five selected case studies. This was followed by a third
phase involving an evaluation of the case study research and an analysis of the findings
discovered from the case study research. The final phase involved the generation of a
design solution that responds to the findings discovered in phase three. The project
roadmap, shown in appendix B, presents a graphic description of the methodology for
this research project.
Phase One
The first phase involved a review of current literature regarding brand and
branded office environments. From this review, the components of brand were identified
and a definition of brand was constructed. This definition directed the remaining
literature review to understand methods for communicating a visual message. The
review of literature identified three components of brand identity and three tools used to
visually communicate. These elements led to the generation of the matrix, shown in
Figure 16, which was later used to organize information gathered from the assessment of
branded office environments. These matrices were used to assess case studies and to
guide the final design project.
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Branded Office Environments
Figure 16 (sample matrix)
Phase Two
Phase two of this study involved case study research of five different
organizational brands and their respective office environments. The criteria used to
identify each case study included: strength of brand image, existence of a branded office
environment, and access to the brand information and office space. The organizations
chosen for study included: the Starbucks Corporation, Muzak, LLC, Ogilvy & Mather
Worldwide, Girvin Brand Strategists, and Reebok Ltd.
Each case study was analyzed using the same process and standards. The first
step in the analysis stage entailed identifying each facet of the brand, including each
component of the facets. To do this, corporate literature and other published work
written about the organizations and their brands were reviewed. The brand information
was then organized into the brand assessment form shown in Appendix C.
The next step in the evaluation process involved either a site visit or a review of
published work describing the workplace design of the organizations to determine how
each specific brand was communicated through the company’s office space. Using both
the brand information and the workplace information, matrices were then completed for
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Branded Office Environments
each case study to identify the brand facets and communication tools used in the design
of the office space.
Phase Three
After reviewing the different case studies, the information gathered in phase two
was evaluated. The goal of phase three was not to identify which case studies
demonstrated a successful branded office design, but rather to identify each design
approach as it applies to the matrix. This evaluation led to findings that later became
guidelines for the design project.
Phase Four
Phase four involved testing the findings from phase three in an actual design
project. At this point, a matrix was created to communicate the design intentions based
on the three facets: physical, personality, and cultural, and the three visual
communication tools: representation, abstraction, and symbolism.
The first step of this phase was to choose an organization to study. The
organization chosen for this project was Athena Partners. Athena Partners is a non-profit
organization that sells bottled water and wrist bands to raise money for women’s cancer
awareness and research. This organization was chosen for study because the organization
possesses a strong brand image that represents several meaningful interpretations,
creating the potential for a rich and exciting design project.
Expected Outcomes
Through this research project I expect to discover a method for applying the
concept of brand to the process of designing an office environment. While understanding
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Branded Office Environments
that all brands are unique and should be represented accordingly, I also anticipated the
discovery of a common method for identifying and assessing brands.
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Branded Office Environments
Chapter Four:
Phase Two: Case Study Analysis
As stated above, the case study analysis first involved a brand assessment
followed by an evaluation of the branded office environment. The information from both
stages was then organized into matrices. Each case study brand assessment, matrix and
description is detailed below. Figure 17 shows the legend used for the case study
matrices.
Figure 17 (matrix legend)
Starbucks Corporation
Starbucks is a chain of coffee shops serving populations all over the world.
Starbucks possesses a strong and recognizable brand image, which is communicated
through the office of their corporate headquarters. A review of published literature,
including a website, regarding the Starbucks organization, and a visit to the Starbucks’
corporate headquarters were conducted to assess the Starbucks brand and branded office
space. The brand assessment and matrix for Starbucks is shown in figure 18.
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Branded Office Environments
Figure 18 (Starbucks brand assessment and matrix)
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Branded Office Environments
Physical Facet
Starbucks’ logo is a wordmark using the company name and a picture of their
mascot; a siren. Starbucks uses a simple, yet bold typeface to convey competence.
Shapes that define Starbucks’ physical facet are curvilinear and organic and Starbucks’
slogan “One Customer at a Time” is a descriptive tagline that communicates the
individual attention each Starbucks customer receives. Starbucks’ physical facet is
represented minimally in the office space.
Representation
A display at the office’s entry exhibits different packaging and store designs
through photography. The Starbucks logo and brand colors are also represented on this
display, communicating the physical facet (Holman, Louise, personal communication,
January 6, 2005).
Personality Facet
Starbucks’ personality facet is identified as competent due to their established
success worldwide, recognizable and consistent quality, and their commitment to social
responsibility. The Starbucks offices communicate the personality facet using
representation and symbolism.
Representation
Starbucks’ users are coffee drinkers all around the world. To communicate this
using representation, a bulletin board that charts the location and number of stores
worldwide is located in the central public area of the office. This chart is updated daily to
reflect the continual growth of the Starbucks chain (Holman, Louise, personal
communication, January 6, 2005). User imagery is communicated a second time by
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Branded Office Environments
representing Starbucks’ global coffee drinkers. This is accomplished with an exhibit of
international flags representing the different countries where Starbucks operates
(Holman, Louise, personal communication, January 6, 2005).
Coffee farmers are an example of a Starbucks sponsorship, another component of
the personality facet. These plantation workers are represented through photography in
framed pictures displayed in various hallways throughout the office (Holman, Louise,
personal communication, January 6, 2005).
Symbolism
Using symbolism, three live coffee trees are planted in pots on the second floor
(Holman, Louise, personal communication, January 6, 2005). The trees are symbolic of
the brand’s icon, coffee, and serve to communicate the brand’s personality facet.
Cultural Facet
The cultural facet of the Starbucks brand is defined as work hard/play hard.
Starbucks employees value their roots; where they came from and all the people involved
in the coffee producing process. Starbucks encourages its employees to maintain this
connection by working in the Starbucks retail outlets at least once a year (Holman,
Louise, personal communication, January 6, 2005).
To maintain a connection with the farmers who provide Starbucks with tea and
coffee, Starbucks contributes monetarily to a foundation called CARE which works to
improve the quality of life for coffee and tea farmers (www.starbucks.com).
Abstraction
Maintaining this connection is visible in the design of the Starbucks office. Using
abstraction, the floor plan communicates the cultural facet of the Starbucks brand. The
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Branded Office Environments
plan is designed in the shape of an X, (see Figure 19) where the connection point is the
main public area of the office serving a multitude of functions, all of which are designed
to foster connectivity, communication and awareness of other Starbucks employees and
company events (Louise Holman, personal communication, January 6, 2005).
Figure 19 (Starbucks corporate headquarters floor plan diagram)
Symbolism
Using symbolism, a large open staircase (see Figure 20) in the center of the office
communicates Starbucks’ value for connection by visibly linking the five floors of the
office and acting as a platform for chance encounters (Holman, Louise, personal
communication, January 6, 2005). Symbolism is also used to convey daily rituals of
Starbucks such as coffee drinking. An antique roaster and antique poppers are exhibited
and sometimes used during coffee tasting events on the top floor of the office (see Figure
21) (Holman, Louise, personal communication, January 6, 2005).
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Branded Office Environments
Figure 20 (Starbucks staircase)
Figure 21 (Starbucks antique roaster)
Louise Holman, a Starbucks employee, explained that information is primarily
distributed to Starbucks employees during large, company-wide meetings. These
meetings are held on the fifth floor of the building in the large, public space located
around an open staircase. The meetings are so large that not everyone is able to view the
activity; therefore, television screens are strategically placed throughout projecting the
meeting activities representing Starbucks’ communication patterns (see Figure 22).
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Branded Office Environments
Figure 22 (Starbucks meeting space)
Holman also discussed the informal nature of the Starbucks culture. As a symbol
of this culture, areas called “parks” are located on each floor directly off the staircase and
are designed to support informal meetings. Parks resemble the lounge areas of Starbucks
retail outlets, utilizing similar furniture, artwork and colors (see Figure 23).
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Branded Office Environments
Figure 23 (Starbucks “park” for informal meetings)
Representation
Representation is also used to convey Starbucks’ coffee drinking ritual. This is
accomplished by way of barista bars on all five levels of the office. Each barista bar is
located off of the main stairway and is stocked with espresso machines, coffee and milk,
all of which are available for employees to make their own coffee drinks throughout the
day (Holman, Louise, personal communication, January 6, 2005).
Summary
The design of the Starbucks headquarters demonstrates a branded office that
communicates all three facets of the organization’s brand, although each facet is not used
in conjunction with each communication tool. The matrix shown in figure 18 exhibits a
dominance of the representation communication tool and the cultural facet. The physical
facet is only used once to communicate the Starbucks brand.
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Branded Office Environments
Muzak, LLC
Muzak is an organization that translates corporate brands into music using a
process they call, “audio architecture” (www.muzak.com). Muzak also exhibits a strong
brand image and occupies a branded office environment. A review of existing literature
regarding the Muzak organization and office design in addition to a review of the Muzak
website was conducted to assess the Muzak brand and office environment. Muzak’s
brand assessment and matrix are shown in figure 24.
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Branded Office Environments
Figure 24 (Muzak brand assessment and matrix)
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Branded Office Environments
Physical Facet
The brand assessment includes an identification of Muzak’s physical facet,
identified by logo, color, shape, and slogan. Muzak’s logo is a letterform mark simply
depicting the letter “m” bounded by a circle. A circle is used as the defining shape of the
physical facet and gray, black and white colors represent the youthful urban culture of the
organization. Muzak’s slogan, “Muzak is Emotion” is a descriptive tagline describing
Muzak’s brand promise.
Representation
The physical facet is represented in the office design by way of a graphic wall
(see Figure 25) in the reception area (Myerson, 2003, p. 40). Here, the brand colors,
typeface, shape and logo are all exhibited.
Figure 25 (Muzak graphic wall)
The circular shape is also represented in other design elements of the space such
as furniture pieces and lighting fixtures. The circular form can also be seen in forms of
the floor plan as shown in figure 26 (Myerson, 2003, p. 40).
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Figure 26 (Muzak’s floor plan)
Personality Facet
Muzak’s brand personality is defined as excitement based on their creative
approach to business solutions and progressive thinking and is also communicated
through the office design.
Representation
The compact disc, Muzak’s icon, is abstracted in the form of a 40 foot circular
stainless steel floor at the center of the office (see Figure 27) (Milshtein, 2001, p. 2).
The area is designated for office-wide meetings representing programmatic support for
Muzak’s daily rituals and communication.
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Branded Office Environments
Figure 27 (Muzak’s stainless steel circular floor)
Cultural Facet
The cultural facet of Muzak is identified as work hard/play hard. Jeremy
Myerson, “The 21st Century Office,” describes the culture of Muzak as egalitarian,
possessing no visible hierarchy (Myerson, 2003, p. 41).
Representation
Muzak had recently moved their offices from an urban youthful city to a more
rural environment when this space was designed. As many of the young employees
remained with the company during the move, Muzak wanted to maintain a youthful
urban-like culture. Pentagram, Muzak’s brand identity designers, sought to “portray
Muzak as an organization of young, hip and knowledgeable audio architects”
(www.cdf.org/7_1_index/muzak/muzak.html). The floor plan is designed to represent
Muzak’s culture by resembling an urban street grid where streets serve as circulation and
meeting rooms are located at street intersections (Myerson, 2003, p. 40) (see Figure 26).
Symbolism
The open floor plan and perimeter circulation symbolize Muzak’s democratic
values (Myerson, 2003, p. 41) (see Figure 26). The open environment allows interaction
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Branded Office Environments
among employees and allows for spatial equality for each individual employee. The
egalitarian spirit of Muzak is also demonstrated through the consistent design of each and
every workstation, and through the circulation patterns which occur at the perimeter of
the building, providing external views for everyone (Myerson, 2003, p. 41).
Summary
Muzak’s office space exhibits a branded office that communicates all three brand
facets although each brand facet is not communicated using each communication tool.
The matrix shown in figure 24 shows a dominance of the representation communication
tool and a dominance of the cultural facet. The personality facet is only communicated
once in the Muzak office design.
Ogilvy & Mather Worldwide
Ogilvy & Mather is an advertising firm with offices and clients worldwide.
Existing literature about the Ogilvy & Mather organization and branded office space were
reviewed to assess the brand and the offices of Ogilvy & Mather. The brand assessment
and matrix for Ogilvy & Mather is shown in figure 28.
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Branded Office Environments
Figure 28 (Ogilvy & Mather brand assessment and matrix)
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Branded Office Environments
Physical Facet
Ogilvy & Mather’s physical facet is defined by their logo, a wordmark conveying
the brand’s colors and the founder’s signature. The typeface used to represent the
physical facet depicts sophistication and elegance while the brand colors, red and black,
are bold, exciting and creative. Ogilvy & Mather’s slogans are “We sell or else” and
“We sell or get fired” (Myerson, 2003, p. 28). This descriptive tagline expresses the
serious nature of Ogilvy & Mather’s business practices.
Representation
Representation is used to communicate the physical facet of Ogilvy & Mather.
The red logo color is used extensively throughout the space. The red color can be seen at
the reception desk, in the entry tunnel, on partition walls, and at workstation units
throughout the space. The brand logo is exhibited above the reception desk, this is
depicted in figure29. The brand slogan is displayed on a large plexiglass wall alongside
an image of the company’s founder (see Figure 30).
Figure 30 (Ogilvy &Mather hero
and slogan)
Figure 29 (Ogilvy & Mather logo)
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Personality Facet
Creativity and innovation define the advertising services of Ogilvy & Mather,
identifying Ogilvy & Mather’s brand personality as excitement. According to Myerson’s
description of the Ogilvy & Mather offices, the personality facet is not communicated
anywhere in the office’s design.
Cultural Facet
The services, also the daily rituals, of Ogilvy & Mather include advertising,
marketing and public relations. The company was founded by David Ogilvy in 1948.
Ogilvy fostered a culture that he said was, “An atmosphere of ferment and innovation”
(www.ogilvy.com/history).
In 1999 David Ogilvy passed away and the company underwent a transformation
of their internal culture (www.ogilvy.com/history). When discussing the new culture, Joe
McDonough, the company’s co-vice president stated “It’s not about a new place to work,
but a new way to work” (Cohen, 2001, p. 136). The changes signaled “a shift from
exclusion to inclusion” (Cohen, 2001, p. 136). This new cultural view is identified as
work hard/play hard according to the Deal and Kennedy model and is reflected in the
design of Ogilvy & Mather’s office space.
Symbolism
The openness of the floor plan supports the democratic culture while the 2,400
square foot pit, located in the center of the office space supports the inclusive companywide meetings (daily rituals) that frequently occur (see Figure 31).
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Branded Office Environments
Figure 31 (Ogilvy & Mather floor plan)
Abstraction
At the Ogilvy & Mather offices, a 44-foot-long perforated steel tube “takes
visitors on a journey to the heart of the firm” (see Figure 32) (Myerson, 2003, p. 28).
“The tube reads as a time tunnel, alluding to O&M’s august history as well as to its
future” (Cohen, 2001, p. 141). LCD screens within the tunnel represent past projects the
company has completed, giving visitors a view into the rituals of Ogilvy & Mather
(Myerson, 2003, p. 28).
Figure 32 (Ogilvy & Mather entry tunnel)
Representation
At the end of the tunnel, a large clear plexiglass wall presents a picture of the
company’s founder and hero, David Ogilvy representing the cultural facet. Adjacent to
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his picture are the company’s slogans, “We sell or else” and “We sell or get fired”
(Cohen, 2001, p. 141) (see Figure 30).
Summary
The design of the Ogilvy & Mather offices illustrate a branded office design
utilizing only two of the brand facets. As shown in the matrix in figure 28, the cultural
facet is communicated 71% of the time and the representation communication tool is
dominant. The personality facet is not communicated at all in the Ogilvy & Mather
office design.
Reebok, Ltd.
Reebok, an established designer and manufacturer of athletic shoes and
equipment, was the fourth organization studied in this research project. Reebok
possesses a strong brand image and its corporate headquarters is described by Jeremy
Myerson, in his book titled, “The 21st Century Office,” as a branded workplace. A
review of Myerson’s description of the Reebok offices and Reebok’s website were
conducted to create the brand assessment and matrix seen in figure 33.
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Figure 33 (Reebok brand assessment and matrix)
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Branded Office Environments
Physical Facet
Reebok’s physical facet has transitioned over the 115 years it has been in
business, yet the logo has remained a wordmark representing the Reebok name along
with some form of pictorial element. Both the typeface and shape, defining Reebok’s
physical facet, convey directionality, action and movement. The colors representing the
Reebok brand are blue, black, white and gray. According to Myerson’s description of the
Reebok offices, the physical facet is not communicated in the office’s design.
Personality Facet
The personality facet of Reebok is defined as excitement. Reebok portrays action,
spirit and energy to its customers through its high energy advertising campaigns and
website.
Abstraction
Through the use of abstraction the Reebok building plan reflects the personality
facet. “The plan of the building has the coiled energy of an athlete waiting for the
starting gun” (Myerson, 2003, p. 68). As shown in figure 34, the building plan reflects
energy and conveys action and movement with arms of the building leading off in various
directions.
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Figure 34 (Reebok building plan)
Symbolism
Symbolism is also used to communicate Reebok’s personality facet. This is
visible in the design of the building’s façade. Myerson notes, “The façade was conceived
as a view towards the curved segment of a sports stadium” (Myerson, 2003, p. 66).
Figure 35 depicts the curved glass façade that resembles a sports stadium.
Figure 35 (Reebok building facade)
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Branded Office Environments
Cultural Facet
Reebok possesses a top-down management structure that is reflected in the space
plan of the corporate offices. As shown in the floor plan in figure 34, executive offices
are located in a separate building, a far distance from employee workstations (Myerson,
2003, p. 68). This demonstrates a disconnection between employees and management
and identifies the Reebok culture as bet your company according to the Deal and
Kennedy model.
Representation
Fitness facilities (see Figure 36), such as a basketball court and weight machines,
are located within the building, providing employees a place to exercise and representing
the value for athleticism possessed by the Reebok organization. These facilities also
provide a place where products can be tested, one of the daily rituals of Reebok.
Figure 36 (Reebok gym facilities)
Myerson describes Reebok’s value for the outdoors and outdoor activities by
stating, “Outdoor activity is integral to the life of the campus” (Myerson, 2003, p. 66). In
support of this value, massive amounts of glazing provide views to the outside. In
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Branded Office Environments
addition, a running track (see Figure 37), basketball court, and volleyball court are
located outside the building’s entrance, encouraging employees to test products and enjoy
the outdoors.
Figure 35 (Reebok outdoor facilities)
Summary
The Reebok offices are an example of a design that utilizes only two of the
brand facets. The Reebok matrix, shown in figure 33, illustrates that the design of the
Reebok corporate headquarters communicates the cultural facet more often than the
personality facet, and the physical facet is not communicated at all. The matrix also
shows no dominant communication tool, although abstraction is used less frequently than
representation and symbolism.
Girvin Strategic Branding and Design
Girvin is a brand consultancy firm that designs and develops brand identities for
companies worldwide. “Our role is to discover the true spirit of your company’s brand
then convey its strengths and personality through design” (www.girvin.com). The
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Girvin organization, possesses a strong brand image itself, which is reflected in the
design of their office space. A review of the company’s website and a visit to the
company’s offices informed the brand assessment and office evaluation shown in figure
38.
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Figure 38 (Girvin brand assessment and matrix)
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Physical Facet
Girvin’s physical facet is defined by bold red and black colors, a simple
wordmark logo representing the Girvin name and a typeface that conveys confidence. A
calligraphic brushstroke identifies Girvin’s brand shape. This shape expresses creativity
and excitement and also suggests the connection the firm has with the Japanese aesthetic.
Representation
Representation is used to reflect Girvin’s brand colors and brand logo in the office
design. The logo is located on a solid red wall behind the reception desk in the office
lobby. The red color is also displayed on partition walls throughout the office and shoji
screens function as doors to meeting rooms, again displaying the firm’s connection to the
Japanese aesthetic. The floor in the lobby and along the main circulation path is black
stained concrete.
Personality Facet
Girvin’s personality facet is identified as competent. The firm portrays itself as
reliable, successful and intelligent to its clients through its public relations and marketing
materials. The firm also expresses this personality through their office environment.
Representation
Tim Girvin, the company’s founder and principal, “holds a special interest in
ravens due to a childhood experience” (Coronado, Kristi, personal communication,
December 22, 2005). Since the company’s creation in 1977, the raven has been used as
the firm’s mascot. The raven is used to represent the personality facet and is depicted in
a sculptural piece in the main hallway of the office space.
Cultural Facet
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Kristi Coronado, Girvin’s human resource coordinator, described the internal
culture of the Girvin firm as “laid back” but always referred to Tim Girvin as the primary
decision maker, signifying a top down management style (Coronado, Kristi, personal
communication, December 22, 2005). This type of culture can be identified as bet your
company according to Deal and Kennedy’s corporate culture model.
Abstraction
Coronado described the process that clients go through when working with Girvin
as a process of discovery. As the Girvin staff assists clients through this process, clients
move from chaos, to realization, to clarity and definition and finally to a stage of
completion and resolution. This process exemplifies the daily rituals of the Girvin staff
and is communicated through abstraction using four bamboo sculptural installations.
The first sculpture, seen off the elevator, is a cluster of vertical bamboo stalks
leaning in different directions that communicate chaos and irresolution (see Figure 39).
The next sculpture, viewed at the reception desk, is another set of vertical bamboo stalks
which begin to straighten out, but are not completely vertical (see Figure 40). This
sculpture communicates a movement toward realization. In the third installation, the
bamboo cluster is straight but not completely organized, (see Figure 41) communicating
clarity and definition. And in the fourth installation, the bamboo stalks are straight and
aligned with one another, (see Figure 42) communicating completion and resolution.
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Figure 39 (Girvin bamboo
sculpture 1)
Figure 41 (Girvin bamboo
sculpture 3)
Figure 40 (Girvin bamboo
sculpture 2)
Figure 42 (Girvin bamboo
sculpture 4)
The process of discovery is also communicated abstractly through the floor plan
with a movement from dark to light. The circulation path moves at a 45 degree angle
through the office space, beginning in a dark interior space and ending at the exterior
wall, where significant amounts of glazing create an abundantly lit space (see Figure 43).
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Figure 43 (Girvin floor plan diagram)
Symbolism
The Girvin office design also uses symbolization to communicate the idea of
creativity, resolution and direction which symbolize the process of discovery Girvin
clients go through when working with Girvin Brand Strategists (Coronado, Kristi,
personal communication, December 22, 2005). These ideas are symbolized by a circle,
square and triangle imbedded in the floor directly off the elevator.
Coronado described the high level of respect among all staff member for Tim
Girvin, the company’s founder. This respect is communicated symbolically through the
placement of Tim Girvin’s workspace. On the floor plan diagram shown in figure 43, his
workspace occupies the hatched area of the diagram. This space is not only a corner
office, with views in two directions, it is also the point of the office where the three
circulation paths converge, symbolizing the origin of the office.
Representation
Values defining Girvin’s cultural facet include four Japanese principles. These
principles are shibui, an elegant and understated simplicity, wabi, a rustic simplicity, sabi,
meaning mellowed by age, and yugen, meaning a quiet mysteriousness. The Yugen
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principle is experienced in the entryway where the setting is quiet, dark, and empty,
portraying a sense of mysteriousness.
Summary
The Girvin offices are an example of a design that exhibits all three brand facets,
where each facet is not communicated using each communication tool. The Girvin
matrix, shown in figure 38, exhibits a dominance of the representation communication
tool and a dominance of the cultural facet. The personality and physical facets are each
communicated once in the office design.
Phase Three: Case Study Evaluation
To evaluate the case studies, it was first necessary to determine how the data
would be assessed. As the information was organized into matrices, it was necessary to
look at the five matrices holistically for trends, dominant facets, and dominant
communication tools. The goal at this stage was not to define which case studies were
more successful than others in their branding approach, but to determine their approach to
spatial design and branding as defined by the matrix. Two methods for evaluating the
matrices were utilized.
The first method used for evaluating the data was to identify a hierarchy of facets
and communication tools. An observable hierarchy was evident in both categories and is
graphically represented in figure 44. The cultural facet was prominent in all case studies
and was used 61% of the time. The physical facet was the least prominent with a usage
rate of 16% and the personality facet was used 24% of the time. The representation
communication tool was used most often with a usage rate of 53%, symbolism was used
32% of the time and abstraction was used 16% of the time. These findings were later
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used to help guide the design by informing a prominence of the cultural facet and the
representation communication tool.
The second method for viewing the data was to identify how the facets and
communication tools were used simultaneously. For example, in the Reebok and Ogilvy
& Mather cases, all communication tools were used, but only two of the facets were
represented. In the Starbucks, Girvin, and Muzak cases, all three facets were used, but
not in conjunction with each communication tool. For example, in the case of Girvin,
representation, symbolism, and abstraction were all used to communicate the cultural
facet, but only representation was used to communicate the personality and physical
facets. These findings are graphically organized in figure 44.
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Figure 44 (case study evaluation)
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Branded Office Environments
The first two columns of this diagram illustrate two methods for branding office
environments that have been explored and the third column highlights an area of the
research that is unexplored. The third column represents an approach to branded office
environments that exhibits all three brand facets in all three communication type
columns. This unexplored area, thus, became the approach taken for the final design
project.
Guiding Framework for Design Project
The evaluation of case studies resulted in a guiding framework for the design
project that would communicate all three facets in each of the three communication type
columns with an emphasis placed on the cultural facet and the representation
communication tool.
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Chapter Five: Test Findings in Design Project
Design Problem
Branding an office environment is not a new idea. Professional organizations
have been practicing this for years. For example, the tendency for law offices to have a
similar aesthetic is not a coincidence. Law firms seek to communicate to their clients,
success, sophistication, and competence through their office environments. Similarly,
advertising agencies want clients to perceive their workplace as creative, energetic and
efficient, thus resulting in a similar design and environment among advertising firms
(Herman Miller, 2003).
As this is one type of workplace branding, this thesis project aims to explore
branding in the office environment as a way to communicate the identity of a specific
organization’s brand, rather than a type of organization. Another goal of this research is
to use workplace design to communicate brand identity not only to clients, but also to
employees. As the literature review revealed, communicating brand to employees can
strengthen the awareness of, and connection to, the organization’s brand, thus creating a
common identity all employees can share.
A third goal of this thesis is to understand and communicate the idea of brand in
its entirety. This will prevent branded office environments that emphasize one type of
brand facet or one communication tool. For example, a design that calls more attention
to the physical facet using representation might be viewed as oppressive, as noted by
Ziona Strelitz in the literature review. To visualize this, one can imagine if the corporate
headquarters of the McDonald’s Corporation used only representation and the physical
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facet to communicate their brand to employees, employees might feel inundated with
bright yellow and red colors, giant yellow arches and plastic furniture.
Therefore, this thesis project aims to communicate all three facets of the Athena
brand to Athena employees through the office environment using all three
communication types as a way of creating both subtle and overt messages conveying the
Athena brand. This project will serve as an exploration into the process of branding to
inquire how branding can be successfully applied to the workplace.
Project Site
The site chosen for this project is an existing building located at 509 Fairview
Avenue North in Seattle, Washington. Seattle was chosen because Athena’s offices are
currently located there and the majority of their business is conducted in the Seattle area.
The specific site is located in the South Lake Union neighborhood in Seattle (see
appendix D for map) which is considered the hub for cancer research activity in the
Northwest. Organizations such as Fred Hutchinson Cancer Research Center, Susan G.
Komen Breast Cancer Foundation, Marsha Rivkin Center for Ovarian Cancer Research
and the Seattle Cancer Care Alliance are all located in this area.
The South Lake Union neighborhood is an active area of Seattle with plans for
greater development. A significant amount of traffic travels through this area, as it
transitions traffic from the freeway to Seattle’s downtown core. Expansion plans for this
area include a large scale mixed use development and revitalization of the South Lake
Union Park to accommodate summer evening concerts. The activity that surrounds this
area may seem chaotic and frenzied, but in many ways it is symbolic of a life with or
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around cancer. The project site was chosen to symbolize a place amidst such chaos
where calm and stability can be found.
Brand Assessment for Athena
To begin the design process it was necessary to first identify the Athena brand
using the same method applied to each case study. A review of the Athena website and a
phone interview with Kelly Scholl, Athena’s senior project manager, were conducted to
assess the Athena brand as depicted in figure 45.
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Figure 45 (Athena brand assessment)
The Athena brand was developed by Girvin Brand Strategists using a tactical
process that considers all three brand facets identified in the literature review. According
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to the Girvin website, their strategic process takes on four stages: Brand Quest, Brand
Spirit, Brand Code and Transparent Design.
Brand Quest is an element of the branding process that is most closely aligned
with the cultural facet. This element of the brand focuses on how the organization
behaves. The vision, mission and values of the organization are addressed in this phase.
“Brand Quest is the process by which we transform companies, products and services
into powerful brands. Our proprietary process builds consensus among executive teams
regarding company vision, mission and values as well as brand personality”
(www.girvin.com).
The second step in the branding process performed by Girvin is the Brand Spirit
process. The Brand Spirit process is most closely aligned with the personality facet. It
addresses the perception of the brand in consumers’ minds by considering the company’s
values and personality. “Brand Spirit describes the “fire” or essence of the brand as
defined by its core values, personality and desired perceptions” (www.girvin.com).
The Brand Code phase of the branding process addresses the physical appearance
and graphical qualities of the brand. “Brand Code expresses the visual and verbal
language of the brand, including color palette, typography, scent, sound, name, shapes,
and textures” (www.girvin.com).
Finally, the Transparent Design phase involves communicating the brand through
all contact points with the consumer or client.
Although the information is organized in different categories, all categories of the
physical, personality and cultural facets are considered using Girvin’s strategic branding
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process, validating a strong and recognizable brand image for Athena partners. This
image is discussed in greater detail in the following sections.
Physical Facet
The physical facet, as shown in figure 45, utilizes the wordmark form of logo.
The logo is simply the Athena name using an elegant, yet spirited, typeface. The primary
colors chosen for the Athena brand are magenta, blue and aquamarine, and the secondary
colors are pastel colors in green and blue hues. According to Mark Rowden, the bright
primary colors suggest vitality, youth and optimism, and the pastel colors appear gentle
and indefinite. The shapes representing the Athena brand are curvilinear and organic as
represented in the logo and mascot images. And finally, the Athena slogan, “Victory
Starts Here!” is a descriptive tagline that expresses excitement, confidence and optimism
about the Athena services.
Personality Facet
The personality facet of the Athena brand is also shown in figure 45. The users of
the Athena brand, those purchasing bottled water and wristbands to support cancer
research are considered philanthropic contributors because of their conscious decision to
purchase products that support a particular cause. Contributors include individuals who
purchase these products in retail outlets and larger organizations that make sizable
monetary contributions to the Athena organization.
In the case of Athena Partners, the organization’s sponsorship is the same as their
primary service. Therefore, Athena’s sponsorship is also women’s cancer awareness and
research. Athena supports their sponsorship on a daily basis and a description of these
services is described below in the daily rituals section.
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Athena Partners is a young organization, founded in 2003 by Trish May. May
was initially driven by her own personal experience with cancer. She not only lost her
mother to breast cancer and ovarian cancer, she is also a breast cancer survivor herself
(www.athenapartners.org). Finally, the mascot representing the Athena brand is the
Athena Goddess. Athena is known for her strength, courage, and wisdom. She was an
advocate for peace and was considered a protector in times of war.
Cultural Facet
Athena’s work hard/play hard culture was identified after an interview with Kelly
Scholl. Scholl described the informal culture of the Athena organization as busy and
informal. She said, “Even though each employee has their own enclosed office, the doors
remain open and informal meetings occur frequently in one office or another” (Scholl,
Kelly, personal communication, January 28, 2005). She also mentioned, “We are all so
busy that respecting each other’s time and space is also important” (Scholl, Kelly,
personal communication, January 28, 2005).
The Athena values center around finding a cure for women’s cancers. Therefore,
as identified in figure 45, Athena’s values include; finding ways to increase the public’s
knowledge and awareness of cancer, finding ways to support cancer research, and life
and humanity in general. As discussed previously, Athena’s daily rituals include selling
water and wristbands to raise money for cancer awareness and research, disseminating a
monthly newsletter discussing cancer issues and awareness events, maintaining an
informational website, and supporting cancer awareness events by donating water or
volunteering time. Athena supports events such as, Susan G. Komen’s Race for the Cure,
Making Strides, Walk for Hope, and various golf tournaments. Finally, communications
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within the office include informal meetings as discussed previously. External
communications are fully disclosed and made available to the general public, making
their financial records and business practices transparent.
Design Program
The design program was developed after the brand assessment was complete and
a tour of Athena’s current offices was performed by the author. The resulting spatial
allocation program is outlined below in figure 46.
Program
(11) workstations
(1) reception area – reception desk, waiting area (35 people), copy machine, printer, supplies
(1) conference room – 10 people
(1) resource center – 5 people, library & internet
access, tables/chairs
(1) photocopy room – copy machine, printer,
supplies
(1) kitchen – refrigerator, sink, microwave,
dishwasher
(2) restrooms- 1 women’s (3 stalls), 1 men’s (2
stalls). At least one accessible restroom
(1) storage – for event equipment (banners,
tables/chairs, tents, dollies, etc.)
(2) break areas for employees
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(1) coffee room near second floor
(2) private phone rooms near workstations
(2) informal meeting spaces near workstations
(1) archive space
(1) roof access for employee break area
Figure 46 (spatial allocation program)
Design Solution
Using the guiding framework generated in phase three, a matrix was developed,
specifying the design intentions for the Athena project (see Figure 47). The final design
solution responds to this matrix by communicating the physical, personality, and cultural
facets through visual forms of representation, symbolism, and abstraction. The final
design solution is described below according to the matrix categories.
Figure 47 (Athena matrix)
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Abstraction and the Cultural Facet (see Figure 48)
Figure 48 (abstraction & cultural facet)
Athena Partners’ services include: fundraising for women’s cancer awareness and
research through the sale of bottled water and wristbands, knowledge about women’s
cancer through a monthly newsletter and informational website, and awareness through
promotional events and fundraising activities. Essentially, Athena Partners provides
support to the cancer community. For those battling the cancer storm, Athena’s support
is a source of stability, strength and hope. To communicate these attributes of stability,
strength and hope, the prominent design feature in the space is a wall that reaches from
the first floor through the second floor and extends nine feet beyond the roof. This wall
is at the center of the building and has an interior width of five feet, allowing for
functional spaces to be housed within. The wall is visible in the floor plans and section
shown in figure 49. On the first floor these spaces include a reception desk, a stairway
leading to the second floor, archive space, and a kitchen. On the second floor the wall
houses two private phone rooms, a quiet room, a coffee station, a copy and print station,
and a stairway to the roof.
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First Floor Plan
Second Floor Plan
Figure 49 (floor plans and section)
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The knowledge and awareness services that Athena provides also create a sense of
control and clarity for those living with or around cancer (see Figure 50).
Figure 50 (abstraction & cultural facet)
The information Athena provides supplies those who are living in a haze of
information, statistics and lab results, with a manageable body of knowledge which
creates clarity for those trying to understand this complex disease. The result is a sense
of control over the situation.
To demonstrate this idea in the design, clear and controlled paths for wayfinding
and visibility define the space, as seen in the diagram in figure 51.
Figure 51(clarity paths diagram)
The physical paths are experienced on both floors. The openness of the floor plan
creates linear walkways both around and through the wall which are unobstructed and
therefore clear and controlled.
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The visual paths are experienced along the same physical paths described above,
and also through the linear workstation arrangements and the interior rooms of the wall
on the second floor. Each workstation possesses small window openings, creating a
visible link between the individual workstations when seated.
Windows also provide a clear path for visibility within the wall on the second
floor. As seen in the floor plans in figure 49, these window openings imply a connection
between the various rooms of the wall.
Abstraction and the Physical Facet
Figure 52 (abstraction & physical facet)
Athena’s slogan “Victory Starts Here!” is one component of the physical facet.
This slogan expresses confidence, excitement, and optimism, which were three concepts
used to choose artwork for the Athena office space (see Figure 52). These artwork pieces
are shown in the perspective views in figures 53 and 54.
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Figure 53 (resource library perspective)
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Figure 54 (event space perspective)
Abstraction and the Personality Facet
Figure 55 (abstraction & personality facet)
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Athena’s mascot, representing the personality facet, is the Athena goddess. The
Athena goddess is considered a protector in times of war and therefore the idea of
protection is abstractly communicated in two places of the design (see Figure 55).
In contrast to the rest of the office, where exposed framing and mechanical
systems are prominent, the entry maintains a dropped ceiling. This dropped ceiling is
visible in the image in figure 56 and graphically represented in the reflected ceiling plans
in figure 57. Mechanical and structural elements are hidden and the lowered ceiling
extends to embrace the visitors, minimizing the feeling of exposure and creating a sense
of protection.
Figure 56 (donor wall perspective)
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Reflected Ceiling Plan – First Floor
Reflected Ceiling Plan – Second Floor
Figure 57 (reflected ceiling plans)
The idea of protection is also communicated abstractly through the design of
individual workstations shown in the perspective view in figure 58 and the sectional
views in figure 59.
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Figure 58 (workstation perspective)
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Section F
Figure 59 (sectional views)
Here, a sheet of white plastic polymer wraps around the workspace both vertically
and horizontally. The first polymer sheet originates as a table top for the workstation and
bends upward to act as a partition between two workstations and continues upward to
wrap overhead, creating a dropped ceiling for each individual. The second polymer sheet
begins as an embedded element in the floor and wraps vertically to create a partition
between the workstation and the circulation path. The two polymer sheets provide a
protective enclosure for each individual workstation, yet with an eye level window in
each workstation, a visual path remains clear through the workstations and provides a
connection to and awareness of other Athena employees. (Detailed drawings and
specifications for workstation furniture is shown in appendix E).
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Symbolism and the Cultural Facet
Figure 60 (symbolism & cultural facet)
Using light to symbolize life, an abundance of light flooding the office
symbolizes the value placed on life and humanity that Athena holds (see Figure 60).
The roof of the wall is glazed, allowing light to flood the interior of the wall. Glazing is
also used on the building’s roof to allow light to fill the area around the wall as shown in
the sectional views in figure 61.
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Section A
Section B
Section C
Figure 61 (sectional views)
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This abundance of light highlights the wall, creating a glowing effect to highlight
the structure. At night, electrical lighting is used to light the interior of the wall which is
visible from inside the building as well as from the building’s exterior. (Additional
electrical lighting strategies are identified in the reflected ceiling plans in figure 57.
Light fixtures are identified in appendix F).
Symbolism and the Physical Facet
Figure 62 (symbolism & physical facet)
The Athena logo is a symbol for the physical facet. Therefore the usage of the
Athena logo, located on the wall of the elevator, and visible from the entry and reception
area, is used to symbolize the physical facet (see Figure 62). This is shown in the
perspective view in figure 63.
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Figure 63 (entry perspective)
Symbolism and the Personality Facet
Figure 64 (symbolism & personality facet)
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Pink ribbons are a recognizable symbol for breast cancer awareness (see Figure
64). As breast cancer awareness is Athena’s cause, sponsorship is represented by a large
pink ribbon at the entry painted behind the names of contributors on the donor wall. (The
donor wall is discussed in the representation and personality section) The pink ribbon is
shown in the perspective view in figure 56.
Representation and the Cultural Facet
Figure 65 (representation & cultural facet)
To represent the cultural facet, the design program reflects the daily rituals and
ceremonies of Athena (see Figure 65). One daily ritual at Athena involves providing
knowledge to the public about women’s cancers. To support this, the design program
includes a resource library where the public is invited to educate themselves about
women’s cancers. The resource library is shown in the perspective view in figure 53.
Ceremonies practiced by Athena, also a component of the cultural facet, include
fundraising and cancer awareness events. Therefore, an event space was incorporated
into the design of the Athena offices as shown in the perspective view in figure 54. This
event space can be used by the Athena organization when hosting events or it can be
rented out to other cancer awareness organizations. When not in use for events, this
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space is divided by a hanging partition to function as a cafeteria and conference space for
Athena employees. This is shown in the floor plans in figure 49.
Figure 66 (representation & cultural facet)
The design also uses representation to communicate the low budget functioning of
this non-profit organization, also a daily ritual of the physical facet (see Figure 66). This
is accomplished through the use of inexpensive materials and construction methods. For
example, the construction of the wall is a standard 2” X 6” construction, exposed on the
interior cavity and sheathed by translucent fiberglass panels on the exterior (see Figure
67).
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Figure 67 (wall construction)
The building’s concrete structure was maintained and exposed and thereby creates
a visual contrast against the added support of exposed douglas fir beams. Shelving and
desk construction utilize low cost plywood supported by recycled steel piping (see Figure
68). The open floor plan and exposed ceiling minimizes material usage overall. (See
appendix G for additional furnishing and finish specifications).
Figure 68 (desk & shelving construction)
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Figure 69 (representation & cultural facet)
A second component of the cultural facet considered for this design includes
Athena’s heroes (see Figure 69). The heroes of Athena are those who have lived with
cancer. These heroes are represented through photography and a brief life story
imprinted on the wall’s fiberglass panels. The perspective views in figures 54, 56, 58,
and 63 exhibit this feature.
Figure 70 (representation & cultural facet)
The design also reflects a third component of the cultural facet, Athena’s
communication patterns (see Figure 70). As described in the brand assessment, Athena’s
external communications, including financial records and business practices are disclosed
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to the public and, therefore, are transparent. This is represented through the translucent
nature of the wall and the openness of the floor plan.
Representation and the Personality Facet
Figure 71 (representation & personality facet)
The names of philanthropic contributors to Athena’s cause, Athena’s user
imagery, are recognized on the walls of the entryway (see Figure 71). Figure 56 shows a
perspective view exhibiting this design element. The names are displayed along with an
image of a pink ribbon, to show the support’s origin and destination.
Representation and the Physical Facet
Figure 72 (representation & physical facet)
In an effort not to bombard employees with the excessive use of brand colors, the
Athena colors are represented minimally in the space (see Figure 72). The Athena pink is
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used in the lettering of the hero stories on the wall and the Athena blue is used in the
lettering of the names printed on the donor wall (see Figure 56).
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Chapter Six: Conclusion
Findings from literature review
The literature review revealed that there are three components of brand that can
be used to communicate a company’s brand image to organizational employees. These
components are the physical facet, the personality facet and the cultural facet. Through
the literature review, a definition of brand was developed which led to the discovery of
brand as a visual communication tool. Using this definition, the research explored what
constitutes a communication tool. This exploration led to the finding that a brand
message can be communicated visually in three different ways: through representation,
symbolism and abstraction.
A second discovery made during the literature review
process was that the developed matrix could be used to assess the approach taken to
brand an office environment by identifying the brand facets and communication tools
used in the design
Findings from cases study analysis
In looking for commonalities and trends from the data collected in the case study
analysis, two trends were identified as significant and relevant. The first finding was a
dominance of the cultural facet and the representation communication tool in all five case
studies. The cultural facet was used 61% of the time and representation was used 53% of
the time in the existing branded office environments. The second finding was observable
when the facets and communication tools were viewed holistically. This required
observing when the two dimensions of the matrix worked in conjunction with one
another to see if the entire brand was being communicated using different methods of
visual communication to create both subtle and overt visual messages. The discovery
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made here was that two of the case studies exhibited only two of the facets and three of
the case studies exhibited all three facets but did not exhibit all three facets in all three
communication type columns. From this discovery, an unexplored area of the research
became apparent. None of the case studies exhibited all three facets in all three
communication type columns. Therefore, an unexplored area in the research was
discovered and it was determined that the remaining research could be used to explore
this area.
Findings from design process
The design process helped to understand the potential use of the matrix. I initially
thought the matrix would be used to check the design against throughout the design
process to make sure the appropriate messages were being communicated. As I began
this process, it soon became clear that the matrix actually needed to guide the design in
order for an even representation of each matrix box. Therefore during the design phase I
discovered that the matrix could be used to assess branded office space and also act as a
guiding framework in the design process.
A second finding from the design process was the potential for conflicting
messages. During the design process it became clear that this method of branding office
environments poses a potential for conflicting messages communicated in the design.
This issue is something designers need to be aware of. Using this process to brand office
space is different from a typical design process in that it utilizes numerous concepts, as
laid out in the matrix, rather than one main concept throughout the design process.
An example of this occurred during this design process. I initially proposed the
idea of creating a sense control by exposing the building’s structure. This idea was seen
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as contradictory to the idea of protection which I was trying to convey in the entry area.
This conflicting message disrupted the final design solution and needed to be addressed.
When solving this problem, I became aware of a fourth finding. The solution to
this involved evaluating the design holistically and determining a method for prioritizing
the messages communicated through the space. To do this, I looked back to the message
of the wall, the main design element in the space. The wall is meant to convey strength,
stability and hope. By referring back to this concept, I was identifying this as the primary
message communicated in the design and this helped determine the message I wanted to
convey in the entry way. Therefore, I decided it was most appropriate to convey the idea
of protection when one first enters the office. As people walk in off the busy streets of
the South Lake Union neighborhood, they should feel the protection of Athena’s brand
image and the strength, stability and hope of Athena’s services.
Therefore, when using this process to design branded office environments, it is
important to be aware that the numerous messages communicated in the design have the
potential to conflict or contradict one another. This process also creates the need for a
prioritization of messages. Identifying one message as the primary message will help
designers decide the appropriate message to communicate when a conflicting message
situation does arise in the design process.
Limitations
As with any study, this research is limited in ways that need to be recognized and
discussed. The first limitation of this study is a restriction on the type of organization this
branding approach can be applied to. In order for an organization to communicate its
brand through the office environment, it must first possess a strong brand identity that
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communicates a physical, personality and cultural facet. For example, the Athena brand
was developed by Girvin Brand Strategists, and therefore, all facets of the brand had been
designed and planned to possess a recognizable brand image.
The second limitation to this study is the subjectivity in the case study and design
analysis. As in any design application, the interpretation of the design is subject to bias
and subjective evaluation of the reviewer. During the case study process, the assessment
of the brand and branded office spaces were based on the researcher’s interpretation.
During the design process, the interpretation of design elements and their respective
messages was left to the designer. For example, the choice to use light to symbolize life
was a subjective decision made by the designer. The decision to abstract Athena’s daily
rituals down to the simple idea of providing sound and solid support and communicating
this through the use of a bold, tall structure such as the wall was also an interpretation
made solely by the designer. Positive feedback in design critiques validated that the
message could be received clearly and thus confirmed its usage in the design.
A third limitation to this study is the investigation of only one method tested
among the numerous possible methods that could be used. The case studies chosen for
evaluation do not represent a random sample of the branded office population and
therefore only represent two methods using this framework. The design project explored
a third method, but countless approaches are still unexamined, thus leaving room for
further exploration.
Possible Further Study
Further exploration of branded office environments using this method could
include designing a space that communicates the dominant cultural facet using the
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dominant representation communication tool. This method would not try to utilize all
three facets with all three communication tools, instead it would determine the cultural
facet as the primary message and use representation to communicate each element of the
cultural facet. Other facets could be communicated using this method, but the cultural
facet would remain prominent.
Another area of exploration using this method could compare the design of an
office space that only uses the representation communication tool with the design of an
office space that utilizes all three communication tools. This comparison could
determine if a design using only representation to communicate a brand’s message is
perceived as too intense, creating an oppressive work environment as addressed by
Jeremy Myerson and Ziona Strelitz in the literature review.
To understand how messages are perceived in branded offices, it would be
necessary to conduct post occupancy evaluations. To measure the success of this
research project, one could evaluate the cohesion of employees prior to the branded office
design, and also measure the cohesion after the design. This could determine if branded
office environments do in fact strengthen organizational identity and cohesion.
One could also evaluate employee’s feelings toward their organization prior to
and after the implementation of the design. These evaluations could determine if this
type of messaging is seen as too oppressive in the work environment which could
potentially weaken organizational identity and cohesion or they could conclude a closer
connection to and awareness of the organization’s brand, including its values, mission,
and overall brand message among employees.
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Post occupancy evaluations could also be used to determine if the messages are
actually received through the office design. Asking both employees and visitors what
messages they receive through the office design could reveal if the messages are
understood or not.
Summary
Understanding how to use office space to convey a brand’s message was the goal
of this thesis project. As previously stated, a brand is used to convey the physical,
personality, and cultural characteristics of a company or organization. As these
characteristics represent the essence of an organization’s brand identity, it provides a
source of motivation and inspiration for all employees.
“Brands help us to define who we are in terms of recognized standards and
symbols…It is the contribution that the brand makes to our ability to express who we are,
to compliment and reinforce our individuality, that makes branding such a potent and
extraordinary force” (Schultz, Hatch & Larsen, 2000, pg. p. 61). As we move through
the 21st century, social and technological changes will continue to impact organizational
culture in both positive and negative ways. Positive effects of these changes include
increased efficiency, flexibility and production and negative effects include reductions in
motivation, morale, and compliance. To capitalize on the positive impact and minimize
the negative impact it is important for designers and organizational managers to
understand the potential benefits of branded office environments. The research discussed
in this paper suggests that branded office environments do encourage identity among
employees. This kind of identity in the workplace can fulfill basic human needs for
employees, including safety, reduction in uncertainty, a sense of belonging, and self-
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esteem. According to the research of Rock and Pratt, fulfillment of these basic human
needs leads to benefits for the organization, such as lower levels of turnover and
increases in employee motivation, job satisfaction, and compliance. All of these benefits
ultimately create a more efficient and productive workplace by strengthening the
cohesive structure of organizational life.
As branded office environments gain more popularity, designers need to
understand how to design such a space. As there can be different ways of understanding
brand and its application to space, this thesis project provides one method to help guide
designers in understanding the essence of a company’s brand and its application to the
design of the office environment.
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Websites
www.athenapartners.org
www.cdf.com
www.evamaddoxassociates.com
www.girvin.com
www.landor.com
www.muzak.com
www.nbbj.com
www.ogilvy.com
www.prophet.com
www.reebok.com
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www.starbucks.com
Working Bibliography
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Marketing to Manage Profitable Stakeholder Relationships. New York: McGraw
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Gobe, Marc. (2001). Emotional Branding: The new paradigm for connecting brands to
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Hascher, R., Jeska, S., and Klauck, B. (2002). Office Buildings: A Design Manual.
Berlin: Birkhauser.
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Herman Miller. (2003). Three-Dimensional Branding: Using Space as a Medium for the
Message. Retrieved September 12, 2004 from
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Culture, Part I and II” Retrieved from
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LePla, Joseph F. & Parker, Lynn M. (1999). Integrated Branding: Becoming BrandDriven through Company wide Action. Westport: Quorum.
Pine, Joseph & Gilmore, James. (1999). The Experience Economy. Boston: Harvard
Business School Press.
Pondy, Louis. (1983). Organizational Symbolism. Greenwich: JAI Press.
Prophet. Brand Assimilation: Aligning Employees around your Brand. New York, 2002.
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Schmitt, Bernd. (1999). Experiential Marketing. New York: The Free Press.
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