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The purpose of this paper is to examine the contribution of corporate architecture to social value creation. It especially analyses the social effects of investments in experiential corporate architecture that have been carried out by Italian industrial companies.

This study follows a qualitative approach. It is based on a survey and semi-structured in-depth interviews undertaken with six Italian industrial companies. The dimensions of the social-entrepreneurship model (innovativeness, proactiveness, risk management) proposed by Weerawardena and Sullivan Mort were chosen as a framework to investigate the social effects of investments in corporate architecture.

The social effects of the innovativeness dimension are the integration of the company with the territory and development of sustainability. Proactiveness is related to improving the employees’ wellbeing in the workplace and the community’s quality of life. Risk management ensures the development of the local economic-social fabric.

This study combines social entrepreneurship and corporate architecture by highlighting the social effects of corporate architecture. Further, it proposes the structural embeddedness of the company in the territory of reference, a sense for beauty, and a sense of gift giving as further entrepreneurial traits that are generally not proposed in the social entrepreneurship literature.

The results of this study suggest that top management should consider: that investments in corporate architecture are a deliberate strategy of the company; that profits are not a purpose in and of themselves, but rather a means to achieve the social mission’s objectives; and the relationship with architects in terms of mutual involvement in order to understand corporate and local needs and effectively transform them into appropriate architectural solutions.

Corporate architecture can help to solve a number of social problems, such as improving the community’s quality of life, providing employments opportunities, allowing the community to benefit from places of socialisation and aggregation, and offering facilities and services that support culture and encourage cultural exchange. Given that the social benefits are reciprocal, all stakeholders should financially support companies that invest in corporate architecture.

To the knowledge, this is the first study to connect social entrepreneurship and corporate architecture. This research brings to light some Italian industrial companies that are investing in corporate architecture to create social value in the twenty-first century, after the pioneering investments of the Olivetti company.

Focusing on small- and medium-sized enterprises (SMEs), which are characterized by resource restrictions, this paper aims to explore consumer segment profiles by considering demographic, personality and creativity traits to determine whether consumers with different profiles exhibit distinct affective reactions to different logo design types (organic, cultural and abstract).

This exploratory study incorporates recent methodological developments, such as the novel response style correction method, to account for response style effects in evaluations of affect toward logo design. In separate analyses, respondents are segmented according to response style–corrected logo affect and personality and creativity items. The segmentation analysis relies on reduced k-means, a joint dimension and cluster analysis method, which accounts for dependencies between items while maximizing between-cluster variability. A total of 866 respondents from the Iberian Peninsula (Portugal: n = 543; Spain: n = 323) participated.

Based on a study using unknown logos (proxy for lower levels of budget communication, characteristics of SMEs), results reveal that there are three segments of consumers based on their affective response toward logo design: logo design insensitives, cultural logo dislikers and organic logo lovers. These segments are associated with different personality traits, creativity and biological sex (although biological sex is not a discriminant variable).

The decision not to control logos by color, to increase external validity, could limit the study’s internal validity if this aspect interacts with relevant study variables. Nevertheless, the empirical evidence can be used to further test associations between consumer profiles and responses to logo design.

Findings highlight the relevance of considering complex profile segments, combining demographics, psychographics and creativity to predict affective consumer responses to brand logo design. This research provides guidelines for SMEs when choosing or modifying their logo design to appeal to different consumer segments.

This study provides managers of SMEs (less present nowadays in empirical studies) with evidence suggesting that complex customer profiles help to understand differences in affective responses to natural logo designs. Furthermore, it relies on the use of a novel methodological development that improves the accuracy of the exploratory study developed.

This study aims to compare academic prescriptive models on how to choose a branding strategy on the continuum from a “branded house” to a “house of brands” with real-life branding strategies of leading companies.

Data from an executive survey, observations and desk research on 75 leading companies in Austria are analysed with multilevel weighted least squares (WLS) regression.

Branding strategies for products are determined by industry (23 per cent of variance), the overall strategy of the company (28 per cent), the remaining variance being product-level decisions deviating from both. Service and consumer durables companies lean more towards corporate branding than consumer nondurables. On the company level, synergies in advertising, e-commerce and e-CRM (customer-relationship management) increase the usage of shared brands. A higher company age leads to brand proliferation. On the product level, quality differences between products, the emphasis on and differences in experiential product positioning and, marginally, the symbolic differences between products favour individual brands.

Future research should investigate additional markets, additional drivers, small and medium-sized entreprises (SMEs) and employ additional measures.

The study informs brand-architecture audits with benchmarks from leading companies, calls for a view of brand architecture more flexible than ideal-type categories proposed in literature and cautions against management inertia, industry standards and trends in designing branding strategies.

This study is the first quantitative cross-industry multi-level study on real-life branding strategies. It also applies a new conceptualisation and measurement of branding strategy.

This purpose of this paper is to discuss how experiential design can provide a basis for museums’ branding strategies in order to attract visitors, particularly those visitors with a low involvement with museums.

The authors first analyze the experiential motives that museums should consider as relevant in attracting potential visitors. Consequently, the authors examine effects of experiential design on the participants’ behavior and attitudes, which are relevant for achieving branding objectives and institutional objectives of museums. In an experiment, using computer simulations, the authors tested the effects of an experiential vsus a non-experiential museum design on potential, especially low-involved participants.

The results of the experiment show a positive impact of the multidimensional experiential design on low-involved participants concerning branding relevant behavior, such as loyalty and perceived differentiation. There is also a positive influence on institutional goals such as perceiving the museum as role model and a positive change of attitude toward museums in general.

Because of the virtual character of the examined museum the results show only a tendency for potential behavior of real museum visitors. Future studies should test the effects of experience design for a real museum with a distinct brand profile.

The study reveals that once in a museum, potential visitors with a low involvement can be addressed by a museum design that appeals to their experiential motives and which, at the same time, communicates a differentiated brand profile of the museum. Following the visit, this impression can help to overcome barriers in terms of further museum visits and stimulate positive word-of-mouth advertising to other potential visitors.

The results suggest that from a global perspective, experience inducing museums can become role models for other museums, thus altering the image, expectations, and attitude of potential visitors with low-involvement toward museums as social institutions.

For the first time the explicit effects of a strategic experiential museum design on potential visitors are analyzed in terms of relevant branding and institutional objectives of museums.

This paper aims to investigate the commonalities and asymmetries between consumer responses to different types of natural designs across countries.

Data were gathered through a survey in three European countries ranking differently in what concerns Hofstede’s (1981) uncertainty avoidance dimension (UAD). Respondents can vary strongly in the way they interpret and use rating scales, exhibiting a variety of response styles. In the analysis of consumers’ preferences for logo design, this article apply constrained dual scaling (CDS) to account for response styles in categorical data.

Results demonstrate the broad appeal of natural logo designs, suggesting that design preferences are similar within countries with different cultural orientations. However, findings indicate that cultural dimensions influence how consumers respond to different types of natural logo designs. Indeed, the positive effects of organic designs are even more salient in countries with higher UAD. Thus, when managers prepare to launch their brands in countries that exhibit more discomfort with uncertainty, they should consider incorporating organic visual identity elements into their logos to achieve the maximum positive affect.

Companies invest extensive time, research and money in generating, promoting and modifying their logos. This paper provides important implications for international brand managers aiming to build a consistent and favorable brand image. From a methodological perspective, the results come from the analysis of clean data – that is, data after applying CDS, which increases the validity of the cross-country comparison.

Many consumer packaged goods (CPG) companies have increased the visibility of their corporate brand to consumers by adding a corporate logo (e.g. Unilever “U”) on the packaging of their product brands (e.g. Dove, Domestos, Lipton, Knorr) and showcasing their product-brand portfolio in additional corporate-brand advertising. This paper aims to investigate consumer needs and product-brand familiarity as moderators of the impact of such a strong form of corporate-brand endorsement on the evaluation of established CPG product brands.

Two experiments with n = 670 and n = 118 respondents compare consumer evaluations of eight (Study 2: ten) product brands of a major German (Study 2: Anglo-Dutch) CPG company with versus without corporate-brand endorsement. The authors measure (Study 2: manipulate) the importance a consumer attaches to symbolic, experiential, relational and functional needs in brand choice.

Corporate-brand endorsement improves (decreases) the evaluation of established CGP product brands among consumer segments who base their brand choice in a CPG category predominantly on functional or relational (experiential or symbolic) needs. Furthermore, it exerts a negative effect on product brands among heavy category users due to their higher product-brand familiarity.

Rather than endorsing all its product brands with the corporate brand, a CPG company should do so selectively, depending on the positioning and target audience of each product brand.

To the best of the authors’ knowledge, this paper is the first to demonstrate the importance of consumer needs and product-brand familiarity in corporate-brand endorsement.

This paper aims to highlight a broader definition of good building performance that goes beyond the traditional emphasis on technical aspects, only adopting the lens of the social construction of technology (SCOT) in the empirical space of the workplace sector. Several building performance evaluation (BPE) methods focus on technical aspects such as energy consumption, indoor environmental conditions and compliance with building regulations and standards. Technical aspects, albeit important goals, only embed a partial component of what buildings are expected to deliver. There is growing interest in considering the organisational and experiential expectations of building performance, particularly integrating various views of performance as expected by different user groups.

The paper adopts an archival research method to analyse the archive of the workplace consultants DEGW, particularly focusing on their work on London’s Broadgate development in the 1980s and the 1990s.

The findings reveal how voices from a pluralistic client organisation can be addressed to articulate a broad definition of building performance that integrates different viewpoints encompassing technical, organisational and experiential expectations. In DEGW’s work, the views on building performance of various stakeholders involved in the everyday use and management of buildings are identified without imposing predetermined agendas or research notions of performance. Particular emphasis is given to understanding clients as not a homogenous entity but consisting of different interest groups, which implies multiple conceptualisations of building performance and the building itself.

The performance expectations of a building vary between organisations and even within any organisation. Moreover, the needs of an organisation will change over time, and the BPE criteria need to be changed to ensure better alignment between organisations and the physical spaces they occupy. A critical reflection on the conceptualisation of “users” and “building” in BPE methods is required to create an integrated approach towards building performance.

The paper offers insights by adopting the theoretical lens of SCOT to explore an integrated approach to building performance that captures the varied needs of building users through the example of London’s Broadgate development.

Aaker’s brand personality scale (BPS) published in 1997 has revived hitherto sluggish interest in brand personality research. With time, the BPS, most cited work in brand personality, also faced criticism across dimensions. This paper aims to review the popular journals published after 1997 for criticism related to BPS.

Papers using Aaker’s BPS without change/with change are identified and scrutinized for reasons for the usage of BPS. Papers on brand personality that have avoided BPS are also scrutinized for reasons of avoidance. Independent efforts of understanding brand personality without Aaker’s framework are also reviewed. In-depth study of all these papers is done to report the criticism of Aaker’s BPS.

This review identifies the criticism of BPS and classifies it across six categories – definition, dimension, methodology, concept, words and generalizability related criticism. This paper argues that some issues such as definition, conceptual understanding of brand personality and methodology used to develop BPS need further attention of scholars. On the other hand, issues of dimensions, words used and generalizability can be attributed to evident reasons, such as culture and meaning given to words because of native language.

This criticism and interest in Aaker’s BPS are unprecedented. It has been 20 years since BPS was published. Many scholars have countered the Aaker’s BPS through their work; however, a comprehensive review covering all criticisms and issues of BPS is still missing in literature. This paper is filling this gap in literature.

La Escala de Personalidad de Marca de Aaker fue publicada en 1997 y desde entonces ha motivado el interés por la investigación de la personalidad de la marca. Con el tiempo, esta escala se ha convertido en la más citada, pero también ha sido objeto de crítica. Este artículo revisa las principales críticas a la escala desde su publicación en 1997.

Se analizaron los artículos que utilizaron la escala de personalidad de marca de Aaker sin cambios o con cambios y los motivos de uso. Se examinaron los trabajos que evitaron utilizar la escala y las razones argumentadas. También se analizaron los esfuerzos realizados para comprender la personalidad de marca al margen de este enfoque. El análisis en profundidad de todos estos trabajos permitió sintetizar las principales críticas vertidas hacia la escala de personalidad de marca de Aaker.

Las críticas a la escala de personalidad de marca fueron clasificadas en seis categorías - Definición, Dimensión, Metodología, Concepto, Palabras utilizadas y Capacidad de generalización. El artículo argumenta que algunas cuestiones como la definición, la comprensión conceptual de la personalidad de la marca y la metodología utilizada para desarrollar la escala requieren mayor atención por parte de los académicos. Por otra parte, los problemas relacionados con las dimensiones, las palabras utilizadas y la capacidad de generalización pueden atribuirse a razones evidentes como la cultura, diferente significado de las palabras en distintos países, etc.

Las críticas e interés generado por la escala de personalidad de marca de Aaker no tienen precedentes. Han pasado 20 años desde su publicación y son muchos los investigadores han vertido sus críticas específicas. Sin embargo, en la literatura se echa en falta algún trabajo que revise todas estas críticas de forma integrada. Este artículo pretende cubrir este vacío en la literatura.