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The built heritage, through the multiple meanings it associates (oldness, architectural, aesthetic, symbolic, authenticity), is characterized by uniqueness and irreversibility, being frequently related to the cultural and implicitly tourist image of cities. Due to the seniority of architectural heritage and the special relations established with the place and people, under the direct influence of the socio-cultural and political factors, it ensures the accumulation of symbols that codify the urban space. As a result, heritage buildings are associated with elements of territorial identity. Visual imagery is used as an argument to support the process of selecting significant buildings for local / national culture. These are promoted among the general public. Most of the time, the selection process aims at identifying representative buildings, a process that registers the influence of socio-cultural and politic factors. This article focuses on the socio-cultural evolution of the Romanian Athenaeum, a symbolic building of the Romanian culture. Based on a rich background of historical illustrations and recent observations, the authors analysed the symbols associated with the Romanian Athenaeum, in various historical periods. The authors used a sample of picture postcards with representations of the Athenaeum and interpreted the information they provided. The key results show the cultural role of the Athenaeum for the capital city, Bucharest, and its relation with the political factor, as this building was selected as the host for important political events with a deep historical charge, most often having the support of national authorities. In the course of time, the Athenaeum was represented constantly in picture postcards, as cultural building symbol and tourist attraction, due to its unique characteristics which emphasize its role as element of urban identity for Bucharest. At the same time, the interpretation of visual imagery allowed the decoding of the symbols and identification of the identity narrative and politics built around the Athenaeum, which, through the interactions generated by the socio-cultural and political plans, confer it the quality of symbolic building for the national and European culture.

The article is focused on the cultural phenomena of architectural iconism that has become globally widespread due to the continuous pressure of ongoing economic, ideological and cultural globalisation and the reigning interests of the web of building industry that appropriates architectural design for its own financial purposes as well as local political stakeholders who often seek to replicate the success of previous internationally renowned iconic buildings by aspiring to the status of world-class cities. While discussing the global and local cultural contexts in which the so-called 'Bilbao effect' triggered the current pursuit of iconic buildings, the author of the article analyses the much publicized recent example of iconic architecture in Eastern Europe – the MO Modern Art Museum that was designed by Daniel Libeskind and opened in Vilnius, the capital of Lithuania in 2018 on the site of an abandoned and eventually demolished cinema in the vicinity of the historical Old Quarters. It is argued that despite of publicity and largely overcooked praises of international architectural media, the museum's architectural design remains an example of 'signatory architecture' that largely ignores the aesthetics of its local urban environment and peculiarities of local historical and cultural context. It is suggested that that despite of claims of being contextual, in fact the building is not and on the contrary: it exhibits most of the aesthetics features that plaque iconic buildings in various localities on different continents.

Recently, cities of emerging countries have opted to use city marketing strategies as a route into the competitive economic dynamics of "global cities". Among other tools, city marketing uses architecture (as part of the local culture) to increase the competitiveness, relevance and visibility of cities in the globalized world.In 2008, the Department of Culture of the city of São Paulo (Brazil) commissioned the Swiss architecture office Herzog & De Meuron to design the Cultural Complex– Dance Theatre (Complexo Cultural Teatro da Dança), a monumental building located in one of the most vital and complex areas of the city center. This study aims to analyze the fundamentals of that unique city marketing urban intervention, considering a) the symbolic and political impact of its actions on the local population and b) the ability for requalification of the surrounding area. The findings question the effectiveness of the model in emerging countries, namely in Brazil. ; En las últimas décadas, el marketing de la ciudad se ha convertido en un instrumento fundamental para las intervenciones urbanas de los países desarrollados. Recientemente, las ciudades de los países emergentes han optado por utilizar las estrategias de marketing de la ciudad como una vía de acceso a las dinámicas económicas competitivas de "ciudades globales". Entre otras herramientas, la comercialización de la ciudad utiliza la arquitectura (como parte de la cultura local) para aumentar la competitividad, la pertinencia y la visibilidad de las ciudades en el mundo globalizado. En consecuencia, la arquitectura se ha convertido en una herramienta fundamental de la celebración, real y simbólica, de los modelos dominantes de planificación de la ciudad. En 2008, el Departamento de Cultura de la ciudad de São Paulo (Brasil) encargó la oficina de arquitectura suiza Herzog & De Meuron para diseñar el "Complejo Cultural - Dance Theatre" ("Complejo Cultural Teatro da Dança"), un edificio monumental ubicado en una de las áreas más importantes y complejas del centro de la ciudad. Este estudio tiene como objetivo analizar los fundamentos de esto modelo de marketing intervención urbana, teniendo en cuenta a) el impacto simbólico y político de sus acciones sobre la población local y b) la posibilidad de que la recalificación de la zona circundante. Los resultados ponen en duda la efectividad del modelo en los países emergentes, es decir, en Brasil.

Machine generated contents note: Introductionthe crisis of branding and the demand for authenticity * What is authenticity? * Principle 1Tell compelling brand stories * Principle 2Appear as artisanal amateurs * Principle 3Stick to your roots * Principle 4Love of product and production * Principle 5Market Immersion * Principle 6Cultural contribution * Principle 7Indoctrinate staff into the cult * A call to actionbuilding brand authenticity Introductionthe crisis of branding and the demand for authenticity * What is authenticity? * Principle 1Tell compelling brand stories * Principle 2Appear as artisanal amateurs * Principle 3Stick to your roots * Principle 4Love of product and production * Principle 5Market Immersion * Principle 6Cultural contribution * Principle 7Indoctrinate staff into the cult * A call to actionbuilding brand authenticity

City branding is an effort to build an identity about a city and providing opportunities for the realization of regional development both in terms of economy and tourism. Branding can be realized through all forms of parts of the city that have distinctive characteristics that are influenced by physical and non-physical characteristics. "Solo the Spirit of Java" means that "Solo is the soul of Java" which reflects the depth of meaning of the cultural, artistic and historical roots of Solo. Since branding was established and legalized, several things have been done by the city government, one of the efforts are regarding physical characteristics is clearly visible in several buildings including cultural heritage buildings. Javanese iconic elements are deliberately preserved as a form of preservation and branding. This research was conducted to identify the application of Javanese iconic elements in hotel buildings in Surakarta. The method used in this study is collecting secondary data and observing to identify the application of Javanese iconic elements in buildings. The results illustrate that the application of Javanese iconic elements in hotel buildings is not optimal. It is because the visual view of building has not been able to attract attention, so it does not have a strong character. This needs more attention to all relevant stakeholders to improve the image or character of the building so that it can become a city branding that can strengthen the identity of Surakarta City through physical characteristics.

With globalization, the marketplace is becoming increasingly complex for marketers to navigate, bringing dramatic changes to both the supply (i.e., brands that are offered) and demand (i.e., consumers' values and desires) sides of markets. A proliferation of global brands from developed and emerging economies brings diverse cultures to a consumer population that is also growing culturally diverse. Torelli illustrates how marketers can take advantage of these seismic changes and leverage cultural equity for building iconic brands in the era of globalization. Drawing from novel theoretical insights into social psychology, cultural psychology, and marketing, "Globalization, Culture, and Branding" provides guidelines for imbuing brands with culturally symbolic meanings that can create deep psychological bonds with multi-cultural consumers. Unlike past publications that conducted broad reviews of international or global marketing best-practices, Torelli's book zooms in on the issues involved in growing and protecting brand equity in multi-cultural markets

Museum buildings have clear behavioral functions; they also have symbolic functions, to express the privileged space and valuable objects they contain. This research looks closely at a recently-completed museum building in Denver, Colorado. Located in a regional city in the middle of the United States, the Denver Art Museum explicitly wanted to replicate the success of the Guggenheim Museum Bilbao with its new wing. This case study utilizes a multi-method approach, with findings based on interviews with key stakeholders, archival data, and direct observations of the building and the spaces it creates.From the beginning, the Hamilton Building had functions to fulfill beyond preserving and displaying art: it was to be its own fundraising tool, to represent Denver to the world and the Museum to Denver residents, and to draw cultural tourists in the same way that the Guggenheim museum drew tourists to Bilbao. As such, with a bond approved by the voters, the selection committee hired Daniel Libeskind as the primary architect, based on his personality, political savvy, and exuberant conceptual design. The form of the building fulfills the programmatic requirements of the bond, while simultaneously fulfilling more symbolic functions. Its image is used as one of six in an international marketing campaign to boost tourism to Denver. The building is written about in the local, national, and international press, and while not all comments are positive, it does draw attention to Denver. The irregular spaces for art push curators and exhibition designers to be creative in how art is displayed, even changing art display tactics in the older, square-walled building. Artists generally like creating art specifically for the space, and one of the most successful shows in the building allowed visitors to watch art getting created and installed--an idea that was completely new to the Museum. In conclusion, a new museum type has emerged, one where the building is as important as the art. This building type serves as a fundraising and advertising tool, not only the museum but also the city.

Introduction. The article analyzes the history of the creation of architectural objects surrounding the main square of the city – the Square of Fallen Fighters in the pre-war period of 1928–1938. The sequence of development of the square with new buildings of the era of "industrial constructivism", as well as the reconstruction of houses built in Tsaritsyn, is covered in detail. Methods and materials. The study is based on the objectivity principles and applies general scientific as well as specific historical methods. The authors pay attention to the facts related to solving the problems of transforming pre-war Stalingrad into a "socialist city" – the center of industry and culture in the Lower Volga region. Separate events of the first period of the assault on Stalingrad related to the defense of iconic buildings in the central part of the city, which turned into nodes of resistance of the Soviet troops in the September street battles, are considered. Buildings and structures of the pre-war period of the city's life that represented the appearance of the urban environment of Stalingrad, including the Square of Fallen Fighters, were forever lost to posterity. The purpose of the work is to analyze the historical architectural features of the main square and the surrounding area for subsequent computer modeling of the lost historical and cultural objects of pre-war Stalingrad based on the methodology of 3D reconstruction of structures. This approach to the historical heritage, which the city lost during the years of harsh atheistic propaganda and war, is partly able to recreate for contemporaries and subsequent generations various stages of life in Volgograd, with a characteristic appearance and features that reflect the characteristics of the city's environment. Historical and analytical material is necessary for compositional modeling, which will allow reconstructing architectural objects of pre-war Stalingrad for further research and use in the development of a virtual tour.

Since the last two decades the city of Dubai permanently comes under fire of international criticism. But the objections mostly refer to political or social defects, and not to the specific urban shape of the city. However, architecture and new urbanism of Dubai show a whole string of innovative formal principles, which can be used for international town planning in future. "Image" is the basic concept to create not only iconic buildings, but new spatial structures, dominated by architectural prospects, axial perspectives or dramatic configurations. Instead of the old grid system in modern town planning new districts of Dubai show remarkable compositions in different clusters of skyscrapers. For that reason "Learning from Dubai" can be a usefulstrategy in contemporary ...

Part of a series of reports that includes: Carbon Free Boston: Summary Report; Carbon Free Boston: Social Equity Report; Carbon Free Boston: Technical Summary; Carbon Free Boston: Transportation Technical Report; Carbon Free Boston: Waste Technical Report; Carbon Free Boston: Energy Technical Report; Carbon Free Boston: Offsets Technical Report; Available at http://sites.bu.edu/cfb/ ; OVERVIEW: Boston is known for its historic iconic buildings, from the Paul Revere House in the North End, to City Hall in Government Center, to the Old South Meeting House in Downtown Crossing, to the African Meeting House on Beacon Hill, to 200 Clarendon (the Hancock Tower) in Back Bay, to Abbotsford in Roxbury. In total, there are over 86,000 buildings that comprise more than 647 million square feet of area. Most of these buildings will still be in use in 2050. Floorspace (square footage) is almost evenly split between residential and non-residential uses, but residential buildings account for nearly 80,000 (93 percent) of the 86,000 buildings. Boston's buildings are used for a diverse range of activities that include homes, offices, hospitals, factories, laboratories, schools, public service, retail, hotels, restaurants, and convention space. Building type strongly influences energy use; for example, restaurants, hospitals, and laboratories have high energy demands compared to other commercial uses. Boston's building stock is characterized by thousands of turn-of-the-20th century homes and a postWorld War II building boom that expanded both residential buildings and commercial space. Boston is in the midst of another boom in building construction that is transforming neighborhoods across the city. [TRUNCATED] ; Published version

"From 19th century exploration narratives to twentieth century screenings of Nanook of the North, Canada's far North has always commanded a strong fascination, tinged with romanticism and exoticism, for non-Aboriginal peoples. Contact Zones explores a range of Canadian textual and visual depictions of northern Aboriginal life, gender and family relations in the post-World War II period, asking how and why certain images and understandings of Aboriginal life came to dominate, while others were marginalized or suppressed. A critical analysis of the dominant and competing ideological assumptions about northern Aboriginal peoples that circulated through Canadian culture is particularly important for the post-World War II period, as the far North was increasingly occupied by Euro-Canadians, targeted as frontier of economic development, and Aboriginal lives were managed far more intensely by the state than ever before. Images of the Indigenous North were also integral to nation-building efforts which attempted to integrate Aboriginal peoples into an expanded version of Canadian history and citizenship, though still on terms that were ultimately racialized, gendered, and colonial. The resilient and changing constructions of Northern Aboriginal life are explored in Contact Zones through an analysis of television and documentary film, as well as textual sources such as women's travel narratives, popular anthropology and history, fictional writing, and northern testimony from the Royal Commission on the Status of Women. Grounded in archival and documentary research, and informed by interdisciplinary writing on culture, Contact Zones argues that these forms of cultural production must be seen as both instruments and reflections of colonial consolidation. Images of the Aboriginal North tell us more about the viewer than the viewed, yet they still illuminate how the evolving relations of colonial encounter were understood, rationalized, and legitimized. Moreover, the cultural politics of the postwar period left an important legacy for the present, and thus continue to have an impact on Aboriginal lives in the North."--

The article is devoted to the analysis of the place and role of semiotics in the political space. It is reported that an analysis of the political system, as a system that produces itself through signs, allows it to be understood through a system of codes. This subject is devoted to the research of R. Barthes, U. Eco, V. Flusser, G. Kress, Т. van Leeuwen and other representatives of Western science. Due to encoding, not only the political reality, but also its perception and political experience extend. But iconic signs, like the structure of a semiosis, do not retransmit political reality, but substitute it. Hidden codes are used here that influence the development of recognition and perception of political reality. The practice of perceiving iconic signs becomes the building of collective reflection on the sign that forms the attitude toward the political one.Key words: agent function, sign, iconic sign, political institutes, semiosis ; Аналіз політичної системи, як системи, яка сама себе продукує через знаки, дозволяє її розуміти через систему кодів. Завдяки кодуванню актуалізується не тільки політична реальність, а й її сприйняття, через що поширюється політичний досвід. Але іконічні знаки, як структура семіозису, не ретранслюють політичну реальність, а підмінюють її. Тут використовуються приховані коди, які впливають на вироблення впізнавання та сприйняття політичної реальності. Практика сприйняття іконічних знаків стає побудовою колективної рефлексії, яка формує ставлення до політичного.Ключові слова: агентивна функція, знак, іконічний знак, політичні інститути, семіозис. Анализ политической системы, как системы, которая сама себя производит через знаки, позволяет ее понимать через систему кодов. Благодаря кодированию актуализируется не только политическая реальность, но и ее восприятие, что развивает политический опыт. Но иконические знаки, как структура семиозиса, не ретранслируют политическую реальность, а подменяют ее. Здесь используются скрытые коды, которые влияют на выработку узнавания и восприятия политической реальности. Практика восприятия иконических знаков становится построением коллективной рефлексии, которая формирует отношение к политическому.Ключевые слова: агентивная функция, знак, иконический знак, политические институты, семиозис. The article is devoted to the analysis of the place and role of semiotics in the political space. It is reported that an analysis of the political system, as a system that produces itself through signs, allows it to be understood through a system of codes. This subject is devoted to the research of R. Barthes, U. Eco, V. Flusser, G. Kress, Т. van Leeuwen and other representatives of Western science. Due to encoding, not only the political reality, but also its perception and political experience extend. But iconic signs, like the structure of a semiosis, do not retransmit political reality, but substitute it. Hidden codes are used here that influence the development of recognition and perception of political reality. The practice of perceiving iconic signs becomes the building of collective reflection on the sign that forms the attitude toward the political one.Key words: agent function, sign, iconic sign, political institutes, semiosis