It seems more and more firms are either adding branded environments to their list of services or inserting “branded environments” somewhere into their firm name. So what is a branded environment anyway? Is this a passing fad or a lasting tenet of design?
In marketing, branded environments extend the experience of an organization’s brand, or distinguishing characteristics as expressed in names, symbols and designs, to the design of interior or exterior physical settings. It uses space as a physical embodiment of the brand to create a ‘brand space.’ This is achieved through architecture, interiors, lighting, graphics, landscape in spaces such as retail stores, showrooms, trade-fair booths and office environments.
Essentially, it is carrying the essence of the brand throughout multiple mediums. This is apparent – and crucial – now more than ever with people consistently toggling between physical and digital environments. Nowadays, we are not confined to only our physical environment because the digital experience is now on par with the physical.
Think of when you go out to a new restaurant. Our very first point of contact, or impression, is going to the restaurant’s website for directions, a phone number, their menu, photographs of the space, etc. This is a representation of the digital complementing the physical with the website providing an equally integral role in the restaurant experience as the physical visit.
Branded environments factor heavily into this example by carrying with them a message, visual, and experience from the digital to the physical world, and vice-versa. The digital and physical worlds – albeit very different in experience – are indelibly woven together, or need to be thought of as such, according to branded environments designers. In branded environments, threads are pulled through each environment in consistent and complementary ways to establish a total brand experience. The brick-and-mortar brand approach of having just the physical environment is not enough nowadays according to branded environments proponents; it needs a digital partner. Same for the digital – it cannot function effectively on its own, it needs the tangible, physical complement.
With it now increasingly natural for people to reside and work within a well-balanced convergence of the physical and digital, branded environments are extremely significant for brands in that they align the physical and digital in a completely unique way to produce well-rounded brand experience.
Think about some of your favorite brands on social media. Think about why you like them. Are they engaging you with their tone of voice and language? Do they actively use visuals? Do they offer a human element to the content they post? Brands aren’t a collection of facts. They’re about the stories of the company, employees and customers told in a human voice. Consumers will respect and relate to a brand that they can connect to on a more personal level. Give your brand a personality; share a personal story or an inspiring journey. You can work toward your own personal brand excellence by incorporating the following elements into your social media presence.
- Make It Personal. Humanize your brand by avoiding corporate jargon, by making sure your language is completely relatable to your audience and carries your brand messaging. Recently, brands have gained a great deal of success by connecting their products or messaging to storylines that are current and actively relevant to today’s culture, like the Super Bowl or the Oscars. People are more likely to connect if they feel they share a common value with your brand.
- Make It Visual. Social media has also morphed into visual media, so adding a visual aspect to your brand’s social posts is vital. According to a HubSpot study, Facebook post with images are 53 percent more likely to receive a “like” and 103 percent more likely to be commented on. Adding visuals to support your post will keep your brand current in a world skewing more and more toward a visual marketing platform.
- Make It Useful. By far, the most effective way to keep users coming back to your social platforms is to give them something that they can use in their lives, by consistently offering some type of assistance to your users. Some of the most respected brands will come out and openly support their users by working to solve their issues. Offering customer service to your brand’s users from a tap of your iPhone or click of a mouse is the perfect way to connect with your customers on an emotional level.
Representing your brand through social media is the fastest and one of the most effective ways of keeping your brand messaging up to date, while allowing you to effectively build your networking presence within your respective industry.
DesignMatters was very excited to interview Lauren Rottet, FIIDA, about her new furniture line, the Rottet Home for Bolier Collection. DM caught up with Lauren to ask about the process of producing her line, touch on her past product and furniture line offerings, and become familiar with the unique inspirations and experiences she’s had during her design career.
You have a long, established history designing furniture and other products for manufacturers and your own project work, what made you decide now was the right time to launch your own line?
LR: I love to design furniture and as you know, I have been doing it for a while – actually since about 1990 when I could not find the perfect sofa for my home so I designed one and had it built by a local LA manufacturer. This design was picked up by Brayton (now Coalesse) and is still in their line 24 years later. It was my first product and the rest have been for commercial manufacturers until now – so maybe I have just gone full circle. We have been doing a lot of hospitality work as well as private residences and therefore I have been focused on softer more personal furniture. It seems I am always designing pieces to personalize the hotel or home and to fit exactly what I need/want. Also, I am furnishing my home in Montauk and again, could not find what I wanted, so I started designing it. When Bolier approached me to do a residential line, I was thrilled as I already had many pieces in mind and knew that their quality was something I would have in my own house. I have always loved to design options. When I am designing, I typically have one main idea that I pursue for a project, but that idea spins off so many new ideas. I was delighted when Bolier said that they wanted an extensive line as I was then able to keep the ideas going.
Your initial release has 3 product line offerings, each with a different inspiration – avante garde art/Georges Braque, your New York home. What made you land on these elements as your inspiration? Did they come to you or was there a process of discovery involved? If so, what was it?
LR: Actually there are four.
1. Montauk Gray – Obviously what I had in mind for my own home and also for beach houses or contemporary homes where the furniture would be light visually, but command a presence. When doing a second home or home “of design” each piece has to be part of the visual composition and make you happy. Montauk Gray is basically made of Acrylic and gray washed and stained wood.
2. Pied a tier – Every piece in this collection had to serve double duty as in any small pied a tier there is little room. The coffee tables are also storage units, the cabinets serve as room dividers, mirrors and can hold up to five drawers each.
3. Rattan – The idea of contemporary furniture with natural materials.
4. Contemporary Cubist – The idea that shape and form are derived from the mind’s eye and express energy beyond that so a static piece. I do study art and go to almost all of the art shows and yes I love George Braque. Check out the exhibit at the MFA Houston. Braque from 1906 till 1960!
How did you develop the line and how long did it take?
LR: The lines were developed over the course of about a year. The entire product is designed to fill a certain need and to myself, I call it “Contemporary Family” as it is about how a contemporary minded family lives these days. The furniture must serve a practical purpose but be designed as an art object – pleasant to view. I start with a loose sketch and when I like it I draw it more precisely. The more orthogonal ones go straight from my hand to the team at Bolier who will engineer them. I have a very good understanding of what it takes to put a piece of furniture together whether it is a case good or a chair, so I add a lot of notes with sizes, proportions, descriptions and the concept. For the more free form ones, I enlist one of my team who utilizes the beauty of modern day technology better than I do! The team at Bolier does shop drawings form my drawings and sends them to me to redline. From this, prototypes are made and I go to see them and make any final changes/modifications.
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Do you feel your experience as an interior designer and architect influences how you design furniture? How?
LR: Absolutely, a good Architectural and or Interior Design education requires you to think about every aspect and detail your design – how it looks from different angles, how it reflects lights, how it fills a space physically and visually and fits into the overall space. Consider the dining table from the Montauk Gray line, for example. I did not want the dining table to be this big serious thing, so I designed one with an acrylic base so the top appears to float aligning with the view of the ocean just above the top of it. My background as a space designer taught me the importance of scale and proportion. I think this has been forgotten or set aside and is truly one of the most important aspects of design.
Do you see any distinction between how you look at designing furniture versus a commercial office space, hotel, or even your own home?
LR: Furniture is a little more personal and on the other hand not personal at all as it is meant for any and everybody – literally! It is odd as no one is telling you what to do, there is little program and no initial space in which the pieces must fit, but you intuitively and through experience impose parameters on yourself so that the product will work in a variety of places. Not to say that I ever think about “dumbing anything down” so it will have mass appeal – not at all as I do now. But, I do look very closely at the dimensions, size and scale so it will fit in a variety of locations where it might be desired. I also think about durability as that is important. So, I guess the biggest difference is that you are designing without knowing the exact context or end user.
What was the most challenging aspect of designing the Rottet Home for Bolier Collection?
LR: Not challenging, just enlightening and fun. I had worked for Decca (Sister company to Bolier) and therefore knew the steps. Their in-house design and production team is experienced and the leadership team is directed by Richard Herbst who is very knowledgeable when it comes to product design! Rob Casey, new to Bolier, but with a formidable background that includes Martha Stewart and Ralph Lauren, knows his market, give you great direction, but does not at all inhibit. A good combination, so I cannot say it was challenging other than paring down which designs we would bring to market first!
Should we expect to see another furniture or product line in the future?
Where will the Rottet Home for Bolier be available for purchase?
LR: It will be available for sale starting April at the Bolier showroom at the New York Design Center as well as other to the trade and retail.
And, we understand your dream project would be developing an office building where each floor has a high volume space – interlocking volumes, not just typical 9’ ceiling spaces. What would your dream furniture project be?
LR: So fun! Where did you hear this? That is true. I am always having to design within a 9′ volume. People are inspired by change in ceiling height and volume. I love this idea that one part of the space goes up and the other down like interlocking pieces and that some are just two story. A dream furniture project would be to design everything for a particular home from the furniture and rugs to the accessories and lights. To create a line of furniture and rugs that you can change a little each time to customize it for the customer as you would a custom made dress. To reposition found furniture into new beautiful designs by cutting, painting and or adorning or subtracting from it.
Yabu Pushelberg will be honored with the IIDA Star Award during the IIDA Annual Meeting in June. With their studios in Toronto and New York, George Yabu and Glenn Pushelberg have developed and realized their vision through distinctive projects around the world, including Bergdorf Goodman New York; the Four Seasons Hotels in Toronto and Tokyo; the W Hotel in Times Square, New York; Louis Vuitton, Hong Kong; the Viceroy Maldives Resort, and many more.
Today, we try to narrow down our favorite projects to just five!
1. The London EDITION
As described by DesignBoom, the hotel reflects the grand traditions of great Britain: the traditional, aristocratic English country manor and the quintessential London private gentleman’s club with a modern, edgy, urban feel. When these diametrically opposed aesthetics come together, they create an alchemy that takes the hotel and the experience to an entirely new level.
2. Kate Spade
The Kate Spade offices embody both sophistication and youthfulness. Yabu Pushelberg bring to life the brand’s oft repeated tagline “live colorfully” through a whimsical tape installation created by Rebecca Ward and as pops of color lead you through the space.
3. Opus Hong Kong, Show Apartments
The show apartments in Frank Gehry’s first Asian residential development are enhanced by Yabu Pushelberg’s luxurious interiors. While luxe, Pushelberg did note to Wallpaper.com, ‘The mood of home design is changing,’ he says. ‘It is less about gilding the lily and more about quality of design and attention to detail. It is not about the most expensive materials. It has to function well, too.’
4. Fin Restaurant
The list of restaurants designed by Yabu Pushelberg is ever-growing. Here in Chicago we have the Pump Room, in Toronto Brasserie Aix, and in Las Vegas Fin. While each design is different, according to George Yabu you will never find a design featuring bad lighting, acoustics, or uncomfortable chairs.
5. Louis Vuitton, Hong Kong
Yabu and Pushelberg approach each project by first creating a story. WWD.com sat down with Pushelberg who explained, “we created a whole story line about this girl named Chloë. She’s from the Upper East Side and then went to NYU. She got married and went back uptown, but she still has this downtown attitude,” stated Pushelberg. We always come up with a script for clarity — both for ourselves and to keep clients on track.”
In celebration of IIDA’s 100,000 Facebook likes, IIDA CEO, Cheryl S. Durst, shares with us her inspiration, advice for students, and what music gets her on the dance floor in this exciting new Ask Chery Anything video! This is the first video of a monthly feature titled Cheryl’s Corner, which will outline Cheryl’s travels, experiences and involvement in the design community.
The profession of Interior Design is a constantly evolving, complex form of art, business and people. As a designer, you’re expected to keep pace with changing technologies and stay competitive with competing firms, while racing to meet deadlines and client requests. It’s definitely easy to get caught up in the overwhelming job field that is Interior Design, and easily forget how to advance your practice and principles.
To help, IIDA released their Be an Advocate brochure, a guided series of actions a Designer can take to have a positive influence on the practice and the design community as a whole. Be an Advocate is vital to the progression and longevity of the design community, as it provides tips and information on how to talk, engage and recognize Interior Design.
“Personally, I think the ‘Public Perception – What’s In and What’s Out’ piece is very important,” Emily Kluczynski, Director of Advocacy, Public Policy, and Legislative Affairs, offered. “It provides Designers the examples of words and phrases that can help them talk professionally and accurately about what they do. Whether explaining the profession to legislators or clients, this word bank is a great piece to know.”
Be an Advocate supports the Interior Design professional by directly giving advice on how to correctly speak as an individual Designer or as a representative of a design firm. The brochure is also incredibly beneficial with regard to ever-changing state design legislation; including registration, certification, licensure, stamp and seal abilities, and permitting laws.
“If you don’t have laws in place yet, find out how you can get involved with advocacy efforts from your local Chapter,” Kluczynski said. “Follow their lead and use the advocacy brochure to help learn the basics about the profession as it relates to regulation.”
To find out more about the Be An Advocate brochure or to request printed copies for distribution to your Chapter, firm, or business, please contact Emily Kluczynski at email@example.com or call 312.379.5128