Running head: ANALYSE DESIGN ART ASSIGNMENT 1

Analyse Design Art Assignment

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June 13, 2021

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Analyse Design Art Assignment

Introduction

Brand Aid by Michael Sorkin is a selected piece of art from the “Harvard Design

Magazine.” The Guggenheim Museum is, of course, located at the Venetian. After all, fabled

Peggy lived on the Grand Canal. The simple comparison is not quite accurate: this

Guggenheim is not comparable to that one in the same way that the Venetian is to Venice.

The Guggenheim in Vegas is two buildingsuilt by Rem Koolhaas (Traganou, 2016). A little

Cor-Ten box with several dozen excellent photographs from the Guggenheim and the

Hermitage opens off the hotel’s main door with all modesty. Michael Sorkin’s article “Brand

Aid,” in which the image of Rem Koolhaas follows the reader like a cultural shadow, is the

farthest thing from Kelley’s Candide-like joy. At every turn, Sorkin is acutely aware of his

ideological foe, most notably in his caustic evaluation of the 1998 Guggenheim motorbike.

The imitation Campanile and Ducal Palace of the Venetian climb to meet past the Picasso

through the glass and safety grating. With its electric sign saying “Mirage,” the roof of

another hotel can be seen towards the conclusion of the lengthy viewpoint. Of course, the

vista is pure Vegas.

Analysis from Narrative Perspective

With a ‘narrative turn’ in social sciences, greater broadly, and frustration with the

predominance of physical, technical, and economic representations, references to narratives,

tales, and storytelling have become more prevalent in energy and climate change research and

policy. Personal narratives, such as those employed in psychology, are often referred to as

narratives rather than stories (Moezzi & Janda, 2017). Branding is the epitome of the new

Vegas, and a plethora of signifiers are dancing to the beat. It is not so much that the brand’s

concept has been expanded as it is that the concatenation is so severe. Indeed, with its row of
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hotels called after Paris, New York, Luxor, Venice, Mandalay, and Bellagio—hypertrophied

yet familiar evocations of position colonial homes or boats named for some fondly recalled

honeymoon site, filled with fake charm—Vegas is the museum of branding. The motorbikes

were a good match for the paradigm. Every instance in Art of the Motorcycle is a factory-

produced brand-name product, with little potential for customization—or popular alteration.

The only bike that comes close is a replica of the red, white, and blue customized Harley

from Easy Rider (the sole non-archival item in the exhibit).

Diverse and contentious interpretations of sustainability theory and practice have

circulated both within academia and the general public since the term

“sustainability/sustainable development” was coined. For the most part, sustainability has

been tackled primarily from a scientific standpoint. That is only part of the narrative:

although science is crucial for long-term sustainability, it cannot account for all of life’s

numerous contextual dimensions. In opposition to science, story—or narrative—can account

for life’s place-, time-, and event-dependent qualities as both a form of knowledge and a

process of knowledge building (Frank, 2016). Thomas Krens, the director of the Guggenheim

who is famous for riding his helicopter to work, acknowledges and then dismisses Walter

Benjamin’s difference between the talkback original and the machine replicated copy as

“irrelevant in today’s discourse” in a catalog essay of blithe pomposity. Of fact, he is only

praising himself for the audacity of putting bikes on display at an art museum, as if it were a

novel concept. Various and contentious understandings of sustainability theory and practice

have circulated both within the academic and the general public since the coining of the

phrase “sustainability/sustainable development.” For the most part, sustainability has been

tackled primarily from a scientific standpoint.

Comparison
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A great narrative is one in which you can see where you fit into it, why you should

care about it, and why it matters to you. When went on to say that it is crucial to highlight

meaning – why you do what you do rather than on what you do – rather than just what you

do. He also emphasized the need to interact with the “Aspirationals,” a customer population

that includes individuals who have traditional consumer values (e.g., a desire to be important,

a materialist), as well as ecological principles. Firms’ Sustainability Narratives must connect

with Aspirationals. They want to be involved as partners and cooperate with companies to

develop and build new goods to generate meaningful change and growth. Consumers want to

live meaningful lives and interact with companies driven by purpose now more than ever.

They want to believe that a brand is making the best decisions for them (Fischer & Schäfer,

2018). They do not want to read a whole Life Cycle Analysis report to determine whether to

use paper or plastic bags or toilet paper produced from 100% recycled material or FSC virgin

fiber. They want to find companies and brands they can trust, so they can shop with

confidence, knowing they are doing the right thing. A well-presented Sustainability Narrative

engages customers and ensures them that when they do business with your firm, they are

dealing with a firm that understands their problems, represents their values, and is actively

striving to earn a profit and change the world.

Conclusion

In conclusion, Michael Sorkin’s article “Brand Aid,” in which the image of Rem

Koolhaas follows the reader like a cultural shadow, is the farthest thing from Kelley’s

Candide-like joy. Branding is the epitome of the new Vegas, and a plethora of signifiers are

dancing to the beat. It is not so much that the brand’s concept has been expanded as it is that

the concatenation is so severe. Every instance in Art of the Motorcycle is a factory-produced

brand-name product, with little potential for customization—or popular alteration. A great
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narrative is one in which you can see where you fit into it, why you should care about it, and

why it matters to you.

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References

Fischer, D., & Schäfer, T. (2018). Narrations of Sustainability: How to Tell the Story of the

Socio-Ecological Transformation. GAIA - Ecological Perspectives on Science and

Society, 334-336.

Frank, A. K. (2016). What is the story with sustainability? A narrative analysis of diverse and

contested understandings. Journal of Environmental Studies and Sciences.

Moezzi, M., & Janda, K. B. (2017). Using stories, narratives, and storytelling in energy and

climate change research. Energy Research & Social Science, 1-10.

Traganou, J. (2016). Designing the Olympics: Representation, Participation, Contestation.

Routledge.