This book offers fresh insights into how companies can engage with, and make use of, the modern metropolis. Based on actor-network theory and the resource-based view of the firm, it demonstrates how the contemporary city can be seen - and used - as a resource for corporate innovation. The main argument is that companies have to build what the author calls "urban innovation networks." After a theory-based outline of such networks, the author demonstrates the extent to which different institutional players - companies such as Audi, Ikea and Siemens, but also arts institutions like the Haus der Kunst in Munich - are already working to create them. The book combines management thinking with urban theory and the sociology of networks to create a unique blend of different views of capitalism and space, offering a new perspective on both the modern metropolis and globally operating companies active within our distinctly urban culture.

This book scrutinizes the relationship between contemporary TV shows and space, focusing on the ways in which these shows use and narrate specific spatial structures, namely, spaces far away from traditional metropolises. Beginning with the observation that many shows are set in specific spatial settings, referred to in the book as “nonplace territories” – North Jersey, New Mexico, or rural and suburban Western Germany – the author argues that the link between such nonplace territories and shows such as The Sopranos, Breaking Bad, or Dark is so intense because the narrative structure functions similarly to these territories: flat, decentralized, without any sense of structure or stable hierarchy. The book takes three different perspectives: First, it looks at the rationale for combining TV show and nonplace territory from the viewpoint of narrative strategy. It then thinks through what these strategies mean for practicing architects. Finally, it approaches the arguments made before from a “user” perspective: What does this narrative mirroring of social-spatial reality in places such as Albuquerque or Jersey City mean for people living in these places? This new approach to architecture and space on screen will interest scholars and students of television studies, screen architecture, media and architectural theory, and popular culture.

This book is an investigation of the cultural phenomenon of branding and its transformational effects on the contemporary spatial - and urban - reality. It develops a novel understanding of the rationale behind the construction of large-scale architectural complexes that relate to corporate brands, and of its tremendous cultural effects. The author suggests that what we see today is the creation of "global mass ornaments", of a thorough ornamentalization of the entire globe. The origins of this are discussed with regard to examples of corporate brand-building from Europe and China (Autostadt Wolfsburg, BMW Welt Munich and Anting New Town). Additional cases are several simulated spaces in Berlin and the space-branding activities of companies like Apple or Prada. Theoretically, the author develops an innovative poststructuralist framework, combining ideas from Gilles Deleuze with the space philosophy of Peter Sloterdijk. He analyzes how the corporate redefinition of space makes the city enter into a mode of virtual urbanity. This idea leads to a notion of a "global urban" and, ultimately, the "global mass ornament". This concept of a global mass ornament is developed here with reference to Sloterdijk's concept of a world of "spheres". The latter is used to understand the new mode of spatiality of mediatized spaces. The book makes the point that our world is involved in a process of mass ornamentalization that has only just begun. The concept of the global mass ornament is the first to come to grips with a culture in which branding is effectively changing the physiognomy of the earth. The global mass ornament is a banner for a cultural transformation that employs architecture, sign theory and mechanisms borrowed from traditional advertising and from social media, as well as social processes - and that we have yet to properly understand. This book is a significant step forward in this respect.

This book is an investigation of the cultural phenomenon of branding and its transformational effects on the contemporary spatial - and urban - reality. It develops a novel understanding of the rationale behind the construction of large-scale architectural complexes that relate to corporate brands, and of its tremendous cultural effects. The author suggests that what we see today is the creation of "global mass ornaments", of a thorough ornamentalization of the entire globe. The origins of this are discussed with regard to examples of corporate brand-building from Europe and China (Autostadt Wolfsburg, BMW Welt Munich and Anting New Town). Additional cases are several simulated spaces in Berlin and the space-branding activities of companies like Apple or Prada. Theoretically, the author develops an innovative poststructuralist framework, combining ideas from Gilles Deleuze with the space philosophy of Peter Sloterdijk. He analyzes how the corporate redefinition of space makes the city enter into a mode of virtual urbanity. This idea leads to a notion of a "global urban" and, ultimately, the "global mass ornament". This concept of a global mass ornament is developed here with reference to Sloterdijk's concept of a world of "spheres". The latter is used to understand the new mode of spatiality of mediatized spaces. The book makes the point that our world is involved in a process of mass ornamentalization that has only just begun. The concept of the global mass ornament is the first to come to grips with a culture in which branding is effectively changing the physiognomy of the earth. The global mass ornament is a banner for a cultural transformation that employs architecture, sign theory and mechanisms borrowed from traditional advertising and from social media, as well as social processes - and that we have yet to properly understand. This book is a significant step forward in this respect.

This book offers fresh insights into how companies can engage with, and make use of, the modern metropolis. Based on actor-network theory and the resource-based view of the firm, it demonstrates how the contemporary city can be seen - and used - as a resource for corporate innovation. The main argument is that companies have to build what the author calls "urban innovation networks." After a theory-based outline of such networks, the author demonstrates the extent to which different institutional players - companies such as Audi, Ikea and Siemens, but also arts institutions like the Haus der Kunst in Munich - are already working to create them. The book combines management thinking with urban theory and the sociology of networks to create a unique blend of different views of capitalism and space, offering a new perspective on both the modern metropolis and globally operating companies active within our distinctly urban culture.