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This empirical chapter contributes to international business (IB) research on the United Nations’ sustainable development goals (SDGs) by opening a new research trajectory on sustainable headquarters (HQ) buildings. This multidisciplinary study conceptualizes the notion of a sustainable HQ based on a case study and three streams of literature – research on HQs, sustainable office design and the SDGs in IB. It offers a novel angle to prior research on HQs that has largely focused on their functional roles. While IB scholars are increasingly embracing the SDGs, limited attention has been devoted to SDG 11, “sustainable cities and communities.” This chapter draws on a real-time, longitudinal, single case study of a Nordic multinational in renewable products. The authors adopt a future-facing, phenomenon-based approach to envision and reimagine the modern wooden corporate HQ building on a culturally sensitive site in the heart of Helsinki, Finland. The findings emphasize the environmental, social, economic and cultural considerations of HQ buildings. By combining HQ premises with commercial spaces, and by opening the building to citizens, sustainable HQ buildings create a lively city space and increase urban social cohesion. The use of wood as a construction material and the application of design principles that promote human–nature relationships, have a positive impact on climate and human health. By focusing on the physical building, the authors aim to change the way IB scholars understand and study the role of HQ as a part of sustainable cities.

This chapter explores creative drawing mediums in research practice and education, through speculative drawing methods, and the use of temporal mediums such as film, animation, and augmented reality [AR] to move outside entrenched perspectives of communicating towards more inclusive storytelling narratives. Architectural representation mediums provide means of conveying rich layers of information, having evolved through cultural influences and technologies with their origins in Western world views. However, these methods of drawing are limited in how they convey multiple and diverse views or social understandings, ultimately delivering static representations. The student and staff approaches discussed in this chapter demonstrate approaches that recalibrate from a singular, designer-led perspective to one that is multivalent, considering and engaging other stakeholders in the negotiations and conversations of the spaces in our built environments. Through making architectural communication more accessible and inclusive of diverse audiences and voices, alternative world views can be both enabled and facilitated.

In contemporary cities, private actors, such as luxury fashion houses, increasingly participate in projects, affirming themselves as relevant players in urban transformation. Based on the case of “SouPra” district (Milan, Italy), this chapter focuses on the effects of the opening of a fashionable artistic venue on the tourism development. It explores the promotional actions implemented by tourism entrepreneurs after the opening of the Prada Foundation. The analysis leads to two main results: actors in tourism exploit the urban brand conveyed by Prada, which becomes an integral part of the city branding. Fashion houses also act as marketing devices, producing new urban narratives that influence both the tourist and the real estate market.

This chapter examines the limitations of the Western world view in Australia and its influence on the built environment. The dominant narrative of colonialism has disregarded alternative ways of being in the world, resulting in a lack of inclusivity for First Nations peoples. To address this issue, there is potential in embracing an alternative world view through design thinking and co-design to develop more culturally and environmentally suitable places through holistic ways of understanding the world to influence future design strategies for knowledge dissemination. This chapter’s contribution is in promoting an alternative perspective that can challenge the dominant world view and create more inclusive and culturally sensitive spaces that reflect the diversity of the community. This is particularly relevant in the current political climate, where there is a growing advocacy for change and a motivation to look to other cultural perspectives, such as those of First Nations peoples. It calls for a paradigm shift in how we think about and synthesise architecture in Australia. This chapter advocates for the acceptance and engagement with First Nations peoples’ world views, particularly in the fields of architecture, design and places that focus on cultural records.

This chapter explores how department stores came at the end of the 19th century to be at the origin of what is now called “fashion tourism.” Contributing to a new “geography of commerce,” it highlights the role of the space of the department store both as a place of conspicuous fashion consumption and tourism. Further, it demonstrates how Parisian department stores helped consolidate Paris's place as the capital of fashion and luxury. Far from being only places to buy the latest in fashion, the latter became indeed a symbol as quintessentially Parisian as the Eiffel Tower and as necessary to visit for the “Paris experience.”

Embedded in built environment discourse, this chapter examines the traditional knowledge and resilience of the Ngadjuri Nation Peoples through an Elder’s narrative of reconciliation as well as resistance in their subsisting colonial settlement. Removed from ‘Country’ in the 1840s, Ngadjuri Aboriginal community endured colonial industries of open-cut copper mining and large-scale pastoralism as irreparable destruction to their cultural landscapes. European processes in the resources sectors reshaped natural topographies, deconstructing Ngadjuri Songlines and Ancestral Dreaming stories. Burra’s colonial stone buildings of settlement, painstakingly cut and composed from materials of the surrounding ecological terrain, prompted new narratives from Ngadjuri as a way of alleviating scars. Broadly speaking, this chapter aims to show how cultural heritage of two communities is provocatively and conceptually unpacked through the vernacular buildings’ cross-cultural foundations. That is, an under-reported narrative was unwittingly bestowed on the colonial-built forms with hidden meanings that deserve further investigation. This chapter offers a counternarrative to colonial histories revealing Ngadjuri’s methods for reconnecting to Country and culture after generations of disempowerment. It explores how within the materiality of colonial structures, the Ngadjuri entwined their remediated storylines – revealing a data curation that had avoided popular discourse in the galleries, libraries, archives, and museums [GLAM] sector representation. This example implies there are bodies of knowledge in built cultural heritage hidden elsewhere on our Aboriginal Nations and the challenges it presents GLAM in their Indigenisation processes.