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    The Museum Brand Footprint

    The Role ofArchitecturein

    Defining the Museums Imag

    Inside:Foreword IFC

    Overview Page 3

    A Global Brand Page 6

    Clearly Local Page 8

    Larger and Diversified Page 10

    Redefined Page 14

    A Newcomer Page 16

    Renaissance Page 19

    A Clean Slate Page 22

    Convergence Page 24

    Evolving the Footprint Page 27

    Footnotes Page 33

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    THE MUSEUM BRAND FOOTPRINT

    The first museum is thought to date from the 3rd century BCE when King Ptolemy I found

    the State Museum of Alexandria, Egypt. Museums have served as public repositories

    cultural artifacts, societal memory, and scholarship in all historical periods since Periclean Greek temples display

    statues, paintings, and votive offerings. The collection that would become the Uffizi Gallery was established in Florenduring the Italian Renaissance, and, in 1683, the Ashmolean opened in Oxford, England, marking the first use of t

    word museum in the English language. Finally, in 1793, the French Republic opened the Louvre with its encycloped

    art treasures assembled by the French royalty.

    The first museum in the United States was likely Harvard University's Repository of Curiosities, begun in 1750, an

    the Library Society of Charleston South Carolina, founded in 1773. The last half of the 19th Century in Americ

    witnessed an explosion of new institutions including the Wadsworth Atheneum in Hartford, Connecticut in 1842, t

    Smithsonian Institution in Washington, D.C. in 1846, and the Metropolitan Museum of Art in New York City in 187

    The one constant in the history of museums has been change. The use, function, and audience for these collectio

    have constantly evolved, and institutions that survive over centuries do so because they adapt to change. The fi

    museums were repositories for private collections of objects or curiosities and were open for only the social elite

    serious scholars. In the Middle Ages, churches and monasteries were the holders of religious relics, jewels, precio

    metals, rare manuscripts, and fabrics, and The Uffizi collection was initially in a private residence. It was not un

    the proliferation of universal exhibitions in the 19th century that the notion of a public institution, as w

    understand it today was first introduced. In the 20th century, institutions like the Brooklyn Museum began

    shape more and more of their programs to satisfy the increasing need for public education. In light of the soc

    activism of the 1960s, museums were forced to reexamine the effectiveness of their public service.

    In todays world of digital communication, museums have to adapt once again to attract a newer and young

    audience (as their traditional audience is aging). This reportMuseum Brand Footprintby DMD discusses how museum

    today may take advantage of these new conditions to increase their audience and effectiveness as cultural institution

    The paper analyzes the current state of museums and their ability to deal with change by questioning directors

    institutions globally. It does this by focusing on the role new buildings or additions play in the future of the

    institutions and how these administrators communicate the new conditions created by these buildings. The repo

    uncovers some fascinating facts about museums before making recommendations about how they can take this ne

    ForewordWilliam Menking

    Founder and Editor, The Architects Newspaper

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    THE MUSEUM BRAND FOOTPRINT PAGE 1

    role to the public. It begins for example by pointing out that it is often assumed that museums today want -an

    often spend a great deal of effort creating - architectural landmarks because wealthy individuals prefer givimoney to something that gives them naming rights. While this is undoubtedly a consideration for any museu

    looking to expand this is far too simplistic a view. The report quotes Florian Idenburg, formerly a Senior Associa

    at SANAA, the Japanese architecture firm that designed the Glass Pavilion in Toledo, Ohio, "The interesting thin

    about the Toledo Museum is that it's their clear mission to serve the community as it is the only civic building in

    large radius." Thus while museums and their directors increasingly need to think about funding and managing dono

    this report makes clear that they still see their function primarily as a public one and that all those involved in t

    creation of new museums should heed this at their own risk of irrelevance.

    Further, while some museums clearly intend to build dramatic and iconic new buildings to house art - New Yor

    Guggenheim is the best known of these - even this is more complicated that one might expect. DMD poin

    out that: architecture is a major part of what the Guggenheim Museum offers to visitors, is in line with th

    institutions missionto promote appreciation and understanding of modern and contemporary art and architectur

    and that many visitors come to see the building before the art. But not all museums have the same idea about ho

    architecture can affect their institutional mandate or audience. Walker Art Center, known as an institution th

    champions cutting-edge artists and ideas, did not want just an iconic building from its architects Herzog

    deMeuron, but one that reflects the non-traditional nature of the art center.

    The insights that the paper highlights regarding museum thinking about architectural additions are important, b

    the value of this report is its recommendations for how museums can communicate these changes to the publicparticularly to newer and less traditional audiences. It makes many obvious suggestions like reaching out wi

    stronger Web presences, and to engage with new technologies like YouTube, Second Life, and electronic commerc

    But perhaps its most powerful recommendations are those that suggest ways for museums to engage in commun

    outreach to a potential public, particularly to new ethnically and culturally diverse young populations. The Bilb

    Guggenheim for example realized that while tourists come in great numbers to see their Frank Gehry design

    building and impressive collection of art it was still important for them to engage local audiences to remain relevan

    The Art Gallery of Ontario and the Toledo Museum of Art both faced initial criticism from their local audiences perha

    because of their adventurous architecture and spent time consulting with the local communities.

    If museums want to grow and expand they would do well to read this report and heed the advice of the report

    writers, who, it should be pointed out, are from the very generation that museums must engage, if they are

    successfully adapt to contemporary culture.

    The one constant in the history of museums has been change. The use, function, and

    audience for these collections have constantly evolved, and institutions that survive over

    centuries do so because they adapt to change.

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    Capital

    Campaigns, Building

    Construction,

    and Renovation*

    * Based on American Association of Museums 2005 survey of 800 museums nationwide. 1

    23%

    3.5B

    of US museums, and 33% of

    US art museums are engaged in acapital campaign

    50%of the museums engaged ina capital campaign have begunor completed building construc-tion, renovation, or expansionin the past 3 years

    $400The median costs per square footof new building construction,renovation, and expansion for artmuseums are $400, $365, and$163 respectively

    17,000The median size of new buildingconstruction, renovation, andexpansion is 17,000, 15,000, and5,000 square feet respectively

    Respondents collectivelyspent over $3.5B on building

    construction and renovation inthe past 3 years

    24

    M

    The median costs of newbuilding construction,renovation, and expansionfor art museums are $24M,$18M, and $2M respectively

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    THE MUSEUM BRAND FOOTPRINT PAGE 3

    Overview

    The marketing and brand function of museums has changed from event-based marketing centered on

    calendar of exhibitions, openings, and collections to destination-based marketing. The museum

    destination is more than its holdings - it is a visitor must-see, a must-experience architectural landma

    defined as much by the celebrity of the architect as that of the artists on display. This new landscape, fund

    by unprecedented capital campaigns, is forcing museums to define themselves through increasingly uniq

    architecture. The trend is seen around the world from small towns to big cities. We call this t

    Museum Brand Footprint: the unique way museums are using architecture to define the museum as

    brand and a destination.

    This paper, the second in DMDs series in studying brand footprints, looks at the challenges, best practiceand solutions facing eight museums from around the world at various stages of their brand evolutio

    DMD was interested in the new brand stewardship role of the institutions leaders, the stresses that a

    placed upon marketing communications departments, and the architects brand thought process. What w

    discovered, and the reader will find in the case studies, is a host of useful branding and marketing strateg

    which are applicable globally to museums that are beginning or in the midst of architectural projects.

    .

    The median goal of capital campaigns are $10M for museums in general and $20M for

    art museums. For general museums, the goal is 3 times the size of the endowment. For art

    museums, the goal is 2.45 times the size of endowment, 6 times the operating expenses and

    37 times the non-operating expenses.

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    THE MUSEUM BRAND FOOTPRINT PAGE 4

    Expansion needs forinstitutions surveyed-in order of importance

    DMDOnline Survey

    Results

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    88%To raise the profileof the institution

    85%To augment exhibition space

    73%To improve existing facilities

    54%To increase and diversify revenueand audiences

    65%To transform the institution into adestination, increase scope ofactivities offered, and attract newgroups of interest

    46%To stay relevant in the culturalenvironment

    35%To stay competitive with othermuseums

    38%To create programming andexhibits that appeal to theinterests of the core audience

    15%To raise the profile of the city

    4%Endowment

    4%Improve accessibility for tourists

    4%Get more of the permanentcollection on view and to createmore room for staff

    4%To add storage space

    4%To expand space for research andimprove laboratory space (behind-the-scenes)

    4%Address the facilities datedinfrastructure

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    Goals:

    Be the leading global museum with a collection of modern

    and contemporary art, reaching international audiences

    through a network of museums and partnerships

    Stay ahead of global trends in art by expanding into emerging

    art markets, thus enhancing its audience and collection

    Challenges:

    Abu Dhabi currently is not considered a cultural destination.

    Furthermore, it does not have an existing art establishment

    to train local artists and curators

    GAD will be the first non-western museum in the Guggenhei

    network, and the first one located in the Asia continent

    The foundation was previously retained to contribute to and/

    to manage feasibility studies for private and public institution

    interested in opening Guggenheim branches in the region

    in the West Kawloon district of Hong Kong, in Singapore, and

    in Taichung, Taiwan. But none of these projects progressed

    beyond the exploration phase

    THE MUSEUM BRAND FOOTPRINT PAGE 6

    1. A GLOBAL BRANDThe Solomon R. Guggenheim Foundation looks into new architectural destinationsto expand its global presenceThe Solomon R. Guggenheim Foundation operates five museums in the US and Europe New Yo

    City, Las Vegas, Bilbao, Berlin, and Venice - and has partnerships with a number of institutions Europe. The Guggenheim is currently one of the best-known museum brands in the world. The foundatio

    has vowed to continue its global expansion strategy in order to reach out to new audiences and is plan

    ning to build a sixth museum, Guggenheim Abu Dhabi (GAD), which will be designed by Frank Gehry an

    opened in 2012.2 GAD will be one of the four museums on Saadiyat Island, part of the large developme

    project that aims to turn the island into a high-end cultural tourist destination.

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    Redefining The Brand with Architecture

    Architecture is a major part of what the

    Guggenheim museums offer to visitors. This is in

    line with the institutions mission, which is to

    promote appreciation and understanding of

    modern and contemporary art and architecture.

    Communicating the New Brand

    The architecture of Guggenheim museums is a

    major draw for audiences. Tourists make up 70-80% of

    the visitors in the New York museum and often rank the

    building higher than special exhibitions as a reason to visit.

    Access to the building to host events is a factor for some corporate

    memberships. The 1st Fridays parties aimed at the younger audience

    in New York are successful partly because they offer a unique chance

    for people to engage with the architecture after hours.

    Iconic architecture is the defining part of each museums visual

    identity and is used heavily in communications to engage various

    audiences. Each museums website, advertisements, and membership

    communications feature the buildings.

    Though each museums architecture is different, there is a consistent

    global institutional identity that unites all of the Guggenheims. The

    Guggenheim Foundation has a contractual commitment with each

    museum on brand and identity. The Guggenheim museums all use the

    same font in their logo with a different color that subtly references

    the architecture. For example, the New York museum color is Frank

    Lloyd Wright Red.

    The Guggenheim Bilbao is celebrating its tenth year in 2007 with

    a major campaign to engage the local audiences in Spain. The

    campaign features people pictured with the building and calls the

    institution your museum. The advertisements, in Basque and

    Spanish, run on radio, in print, on outdoor signage, and as guerillasignage around town. There is an elaborate website where visitors

    can write congratulatory notes to the museum, read others notes,

    design and send e-cards, and set reminders for the busy schedule of

    anniversary events around town.

    The Results

    Guggenheim Bilbao has been a major success in terms of audience

    attraction and turned Bilbao effect into an industry term used to

    characterize a surge of cultural visitors drawn with the help of archi-

    tecture. Bilbao has become a major tourist destinatio

    after the museum opening. In 2005, eight years af

    opening, the museum still drew more than 965,0

    yearly visitors, more than half of whom were fro

    abroad.3 A total of 1.36B Euros were pumped in

    the local economy directly and indirectly. Thom

    Krens, Director of the Solomon R. Guggenheim

    Foundation who recently announced that he wa

    stepping down, has been approached by 130 citie

    to replicate the same success.4

    Though some are skeptical of the destination potential, AbuDhabi is banking on four museums built by star architects to turn t

    island into a major cultural destination. The $27B complex is expected

    draw 3M tourists between the 2012 opening and 2015.5 Another UAE

    city-state, Sharjah, has discovered the power of contemporary art in

    creating a destination. The citys 8th biennale will take place in 2007,

    with the participation of more than 80 international artists, with a

    heavy representation of those from Arab and Muslim origins.

    Krens explains, the issue isnt about the number of buildings or exhi

    tions, but the number of people you directly engage with. If you add

    up the visitors worldwide to Guggenheim Museums from last year

    alone, thats 3 million people.6

    Krens believes that, just like any goodbrand, the Guggenheim has become an article of faith consumer

    trust that they will have a quality experience when they visit. Krens

    said that Guggenheims international success has led to the tripling

    attendance in New York. Success is also seen in terms of enriching

    and augmenting the global collection due to international expansion

    In the last 15 years, through partnerships abroad, the Guggenheim

    collection has doubled.7

    New branches contribute their unique artistic points of view in order

    to create global experiences at Guggenheims around the world.

    Exhibitions shown in New York such as the 2005 exhibition of Basqu

    sculpture Jorge Oteiza originated in Bilbao. The foundation's internationalliances helped with finances as well. Exhibitions appearing in NY

    were largely sponsored by international corporations, foundations an

    government agencies. In 2005, the Mexico Tourism Board supported

    (The Aztec Empire), and in 2006 the State Corporation for Spanish

    Cultural Action Abroad supported (Spanish Painting: From El Greco t

    Picasso) for example. Management fees and operating income from t

    other branches are also revenue sources for the foundation.

    THE MUSEUM BRAND FOOTPRINT PAGE 7

    The BilbaoEffect

    Guggenheim Museum Bilbao has

    been a major success in terms of

    audience attraction and turned

    Bilbao effect into an

    industry term.

    The visitor experience in relation to art and architecture is central to our brand

    (Our architecture) is an asset that we are conscious of.

    - Laura Miller, Solomon R. Guggenheim Museum NY, Director of Marketing

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    THE MUSEUM BRAND FOOTPRINT PAGE 8

    2.CLEARLY LOCALToledo Museum of Art usesarchitecture to emphasize itscommitment to communityand openness

    The interesting thing about the Toledo Museum is that its their clear mission to serve the

    community as it is the only civic building in a large radius

    - Florian Idenburg, Former Senior Associate at SANAA, in charge of the Glass Pavilion Proje

    Goals:

    Celebrate Toledos history, and elevate appreciation and inter-

    est in the art of glass making

    Showcase the museums commitment to the community and

    public accessibility

    Present the glass collection in a distinct way without clashing

    with the larger Toledo Museum of Art institutional identity

    Challenges:

    The museum was searching for ways to attract new and

    diverse audiences

    There was early opposition to the project in the community;

    the historic Old West End district homeowners were worried

    about the design changing the identity of their neighborhood

    Toledo Museum of Art was founded in 1900 by Edward Drummond Libbey, a glass manufacturer wh

    moved his business to Toledo and became responsible for turning Toledo into a major center for gla

    production. Glass has been a part of the museums history since the beginning. In 2000, in preparation f

    its centennial anniversary a year later, the museum decided to commission a building to house its glacollection and glass-making programs. Designed by Kazuyo Sejima and Ryue Nishizawa of the Japane

    firm SANAA, the 76,000 square foot Glass Pavilion opened in August 2006.

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    THE MUSEUM BRAND FOOTPRINT PAGE 9

    Redefining The Brand with Architecture

    With free admission since opening, the Toledo Museum of Art has

    always been committed to public access. To demonstrate this commit-

    ment, the SANAA design is inviting, open, and non-intimidating.

    The glass faade reveals the story of glass, from production to the

    finished artwork.

    with Toledo being the glass capital of the Midwest, the extensive

    glass collection within the larger museum, and the glass programs that

    are held within the Toledo Museum of Arts School of Art and Design

    The desire was to combine these within a museum and make it a partof the larger campus. Florian Idenburg

    The pavilion is situated within a museum complex that includes the

    Beaux-Art style original museum and the Frank Gehry-designed Center

    for Visual Arts. It sits across the street from the picturesque Old West

    End district, a 25-block historic area of Victorian-era homes. The glass

    faade reflects images of the surrounding buildings in a way to pay

    tribute. Jordan Rundgren explains: "it has activated our campus. People

    feel a little freer to travel in between the buildings and realize that the

    museum is expanding, that it's much larger than they might realize.

    While the Glass Pavilion is minimalist in its design, it does have a very

    nice reflective quality, both literally and figuratively. It integrates itselfinto the campus to enhance the entire institution."

    Communicating the New Brand

    There was early opposition to the project in the community. The his-

    toric Old West End district homeowners were worried about the design

    changing the identity of their neighborhood. This was overcome

    through vast community outreach. Museum leaders participated in

    community church meetings and local TV programs to address the

    public interest in the proposed design. Ultimately, upon seeing the final

    building, the locals were pleased. The Glass Pavilion is now quite

    popular within the community.

    For the opening of the Glass Pavilion, the museum did not launch a

    new graphic identity, but all of the advertising and collateral for the

    opening events included the silhouette of a glassblower and pipe,

    accompanied by phrases such as "Toledo's Newest Hot Spot," "Heart of

    the Glass City," and "Be Blown Away." Advertising centered on the

    "Preview Week" of events leading up to the public inauguration. They

    included local and regional newspapers and magazines, billboards, an

    local television network spots. The museum also partnered with the

    local daily newspaper to produce a special section devoted to the Gla

    Pavilion (including design, architects, construction, facilities, offering

    collection, etc.).

    With the help of a local public relations firm, the museum focused a

    majority of their publicity efforts on national media relations. The tw

    year strategy worked in three phases: construction/trade publication

    architectural writers, and travel/fine art publications. Currently, the

    museum website has a Glass Pavilion section that targets donors and

    visitors, and highlights positive press mentions from major national

    magazines. The website features the building with people inside inter

    acting with the art or public programs, echoing that accessibility to

    the people of Toledo was the primary goal of the Glass Pavilion.

    The Results

    Though the attendance increase is not projected because the museum

    is free, an estimated 10,000 more visitors per month (30% increase)

    come through the doors.

    The docent-led tours of the Glass Pavilion and the glassblowingdemonstrations have been consistently filled to capacity. The interest

    so high that the museum is adding additional glassblowing demonst

    tions in summer 2007.

    Overall positive reviews of the building turned the museum into a

    destination for the national and international architectural tourists

    which pleased the museum and the city officials, who saw the projec

    as mainly a facility for the local community.

    The city is enjoying the buildings popularity, which drew tourists fro

    other parts of the United States and the world. Florian Idenburg

    explains: I think [the building] is appreciated on two levels one onlocal level and the other on a global architectural level. I think the

    community sees this as well. They never expected to have people fly

    to Toledo to see the building, but people do.

    It was the decision of the museum leaders in the year 2000 to create a location not only

    made of glass, but to house the glass collection and juxtapose it with the creation of glass in

    a studio setting. So [during] the visitor experience, you could see the history of glass, see th

    importance of glass in architecture and see the creation of glass all at once.

    - Jordan Rundgren, Director of Public Relations

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    THE MUSEUM BRAND FOOTPRINT PAGE 10

    3.

    (The goal) was a blend of looking forward to future audiences while also respecting

    our tradition. Kim Mitchell, Director of Communications

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    THE MUSEUM BRAND FOOTPRINT PAGE 11

    Redefining The Brand with Architecture

    Taniguchi famously said of the new design If you give me enough

    money, Ill design you a beautiful building. If you give me more, Ill

    make it disappear.9

    The new building was designed to make the institution more welcoming

    to visitors while also blending into the city. The building has multiple

    points of entry (on both 53rd and 54th streets) which remove the

    stress of a single, large main entry point with long lines. The lobby,

    which is open to the public, serves not only as an entry point to the

    galleries, theatres, restaurant, stores, and garden, but also as a

    mid-block passageway.

    Inside, Stephen Rustow said the design does not only aim to create

    new iconic spaces, but also to redefine the already existing iconic

    spaces, such as reinforcing the centrality of the garden, referring

    to the sculpture garden designed by Philip Johnson.

    The building is conceived as an inside building.10 From the outside, it

    is understated, with a faade that can easily be overlooked. Inside, the

    building offers unique city perspectives, especially the skylight on the

    sixth floor, to remind visitors that they are in the heart of midtown

    New York. I want people to know they are in New York City, Taniguchi

    said of the design.11

    The new design reinforces MoMAs desire to be a dynamic institution

    the area of contemporary art. Previously, the visitors started their tou

    in the galleries of the older modern works and then made their way

    into the contemporary galleries last. In the new building, focus on th

    contemporary works is emphasized by the placement of the large

    contemporary galleries on the first floor, across from the main entry

    point. The contemporary galleries are designed without columns to

    address the specific needs of larger contemporary pieces, as opposed

    to the more intimate scale of the galleries upstairs where the permane

    collection is shown. Also included are soundproof galleries for new

    media and video. Temporary exhibition spaces on the top floor are flexi

    enough to allow in-depth explorations of artists works. Overall exhibiti

    space has nearly doubled.

    The new building also allows for a more dynamic explanation of the

    history of modern art. Previously galleries were designed like beads o

    a string, going from one ism to another. The new design allows for anon-linear narrative, with possibilities to present different concurren

    perspectives within the history of modern art. For example, the post-

    impressionist gallery in the new design has two exits one leading t

    cubism, the other to Fauvism, which was once not considered to be

    of equal significance to Cubism, but has since been reached to

    higher significance.12

    LARGER AND DIVERSIFIEDThe Museum of Modern Art expands with present, and future, brand goals

    Goals:

    Keep the museum relevant through the next century, and

    maintain a presence worldwide while respecting its history

    Reinforce the museums mission to be a resource and a place

    for education

    Make the brand more welcoming to, and inclusive of, different

    types of audiences

    Diversify the ways in which the museum interacts with its

    audience and with the city

    Challenges:

    MoMA was perceived to be an elitist institution

    With younger institutions on the cutting edge of the

    contemporary art environment, MoMA lacked the prominent

    and innovative position that it desired

    New Yorks Museum of Modern Art embarked on the most ambitious building project in its history

    the early 1990s. In 1997, the board selected Yoshio Taniguchi for the design. The new MoMA,

    630,000 square foot facility, opened its doors to the public in November 2004 in what the institution cal

    its most extensive redefinition since its founding. 8

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    In addition, the new eight-story Lewis B. and Dorothy Cullman

    Education Center and Research Building features significantly more

    room for public programs and houses a library, museum archives,

    curatorial offices, classrooms and The Celeste Bartos Theater.

    Museum Director Glenn Lowry said of the new MoMA: the ambition

    was to ensure that we constantly surprise visitors. Regularity kills the

    experience. We wanted more nuance, a less linear sense of art history,

    by encouraging serendipitous discoveries and juxtapositions. 13

    Communicating the New Brand

    During Construction

    During construction in Manhattan between 2002 and 2004, MoMA

    closed its Manhattan facilities and relocated to Queens. This transitional

    space provided an opportunity to keep MoMA top-of-mind and a plat-

    form to communicate the changes that were to come. The museum

    recognized that people viewed the new space as very much a preview

    to its future identity. The MoMA Builds exhibition, shown at MoMA

    Manhattan in Spring 2002, showcased project details for MoMAQueens and the Manhattan building.

    The Queens museum was heavily promoted. Prior to the opening, hard-

    hat tours were organized for the press. The opening was marked by a

    huge event, accompanied by press events in Los Angeles, London, and

    Berlin. Previously an unfamiliar destination to tourists and New Yorkers

    alike, MoMA went to great lengths in promoting Queens as a destina-

    tion. Maps were printed and distributed at several locations in the city,

    including the MoMA store and the information desk in the Manhatta

    location. Maps were also printed in newspapers and magazines, givin

    directions and restaurant suggestions. Bus tours were organized to

    bring visitors from Manhattan to MoMA Queens and other art institutio

    in the borough.

    MoMA also made a considerable effort to establish relationships with

    local cultural, business, and community groups, as well as libraries an

    universities. Educational lectures and meetings were organized to

    include residents of all ages.

    A limited part of the MoMAs collection was on view in Queens.

    Meanwhile, 200 of the best pieces from the painting and sculpture

    collection traveled to Houston and Berlin. These exhibitions served as

    a platform to increase excitement for MoMAs new building. There

    were interviews with the Director in Houston. MoMA also hosted an

    event in Berlin. This was significant in building relationships with local

    decision makers.

    The program reflected a wish to redefine the way in which the public engaged with and saw

    the MoMA. They did not want it to be a rupture or something that would seem to break with

    the past, but they wanted it to be an affirmation of who they were and what they were.Steven Rustow, Sr. Associate Principal for KPF, the Executive Architect

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    THE MUSEUM BRAND FOOTPRINT PAGE 13

    Reopening MoMA Manhattan

    Influencers and press were engaged through hard-hat

    tours. These were group, or in the case of VIPs,

    private one-on-one, tours of the construction

    guided by the Director or the architects. MoMA

    stopped the tours in summer of 2004, before the

    November 2004 opening, to preserve an element

    of surprise.

    To mark the opening, the museum held press events

    in New York, London, Los Angeles, Berlin and Tokyo.

    The museum never had held press events in other

    countries before, but it was significant in reaching the

    editor-level local press, who would have commissioned the story,

    but would not have traveled to New York themselves to cover the

    event. It also gave these key local media members the opportunity to

    ask the architects and the Director about the project.

    Communications Now

    The museums new identity is contemporary, fitting with its new

    design. For the first time in its history, MoMAs sign on 53rd street

    reads MoMA instead of Museum of Modern Art. This shows a desire

    to brand the institution as people know it, making it more approach-

    able, as well capitalizing on the international recognition of the

    acronym which transcends language barriers. MoMA features the new

    architecture in its communication materials, not focusing on the

    design elements of the new building, but rather showing visitors inter-

    acting with pieces of the collection to highlight their engagement.

    MoMA holds events called Pop Rallies every other month. These events

    feature musical acts, performances, film screenings, receptions, and

    special viewings of exhibitions at moderate prices, targeting young

    New Yorkers. Other diversity programs include events for teenagers in

    public schools, grandparents day events, and high school student-

    curated shows. MoMA is also active in new media, user generated

    content, and social network sites. MoMA has a branded channel on

    YouTube, called MoMAvideos, which features videos on selected exhibition

    previews, public programs, performances, and exhibition installations.

    MoMAs new building has inspired user generated content on social

    networking sites. On Flickr, a group that encourages people to post

    pictures of inside, outside, paintings, sculptures, prints,

    objects, people, furniture, forms, lines, stairs, walls,

    windows, bathroom sinks has hundreds of membe

    and more than 1,000 photos posted.

    At the reopening, the new admission price of $

    drew a lot of criticism about MoMAs commit-

    ment to public access. To prove their commitme

    MoMA introduced several reduced admission or

    free admission criteria. In addition, MoMA designat

    a free period on Fridays. Every Friday, visitors can go

    into MoMA for free from 4-8pm as part of an event curren

    sponsored by Target.

    The Results

    MoMA announced the economic impact of the expansion to be $2B

    from mid-2004 to mid-2007.14 Paid attendance has increased, as wel

    as the number of non-paying visitors. Attendance grew from 1.5M in

    2000 to 2.5M in 2006. Of the current attendance of 2.5M a year,

    600,000 entered the museum for free, including children and visitors

    that came in during the Free Friday evening hours. Within the first ye

    after the re-opening, 25% of visitors were from the New York metro

    area, 29% from elsewhere in the United States, and 46% frominternational locations.15 Visitors also stay at the museum longer. Pos

    re-opening, visitors are spending more than 2.5 hours inside versus

    1 to 1.5 hours before the expansion.16 Membership has also increased

    The summer before the opening, memberships were at 33,000. The ye

    after opening, the membership is on average 100,000.

    Flexibility of the design gave way to a unique contemporary work in

    February 2007 by Doug Aitken, called Sleepwalkers. New York Times

    writer Roberta Smith called the piece videotecture or archivideo. 17

    It involved projecting a video about the life of urbanites on to six

    facades of the MoMA building. This helped the museum to engage

    New Yorkers in a unique and new way; the piece could be enjoyed

    from the street and from the top of office buildings around the

    museum. Often visited during the day, the MoMa inspired more nigh

    time visits by drawing audiences who wanted to see the piece in the

    glowing darkness of a New York City night.

    The NewMoMA

    For the first time in its history,

    MoMAs sign on 53rd Street reads

    MoMA instead of Museum of

    Modern Art. This shows a desire

    to brand the institution as

    people know it, making it

    more approachable.

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    THE MUSEUM BRAND FOOTPRINT PAGE 14

    Redefining The Brand with Architecture

    Continuing Chicagos history of forward-looking architecture, theModern Wing will sit across from Frank Gehrys Pritzker Pavilion and

    will be a testament to the museums dedication to the new and fresh.

    The building will be Renzo Pianos largest museum and will draw a lot

    of international attention to AIC. Renzo Pianos Modern Wing is

    designed to add a contemporary identity to AIC by unifying the mod-

    ern and contemporary collections under one roof, and bringing them

    under the spotlight. Previously, the modern and contemporary collec-

    tions were scattered over three floors in two buildings, which taxed the

    visitor. The new building will bring them together and also give space

    to photography, architecture and design, film, and video.

    The proposed design of the Modern Wing will open a new front doo

    to the museum on the adjacent Millennium Park by way of a bridge

    designed by Renzo Piano. Millennium Park, which opened in July 200

    is widely popular among Chicago citizens and drew two million peop

    in the first six months after opening.18 The parks diverse audience wi

    be invited to take the bridge onto the roof of the Modern Wing whe

    they will be able to enjoy park and Lake Michigan views, and access t

    museum restaurant and sculpture terrace. By creating a bridge onto

    the popular park, the museum will broaden its audience and create

    greater engagement with the citizens of Chicago.

    4.REDEFINEDThe Art Institute of Chicago refreshes its image with a new,

    green wing

    Goals:

    Reposition the museum as a contemporary brand in order to gain a broader audience

    Create greater public accessibility to the modern and contemporary collections

    Challenges:

    AIC has long been known as a historicist museum due to the overwhelming popularity of its collection of 19th century French art. Thoug

    AIC had strong modern and contemporary collections, the museum had a fusty image and was not thought of as a major destination for

    modern and contemporary art, especially compared to younger institutions that focused only on modern and contemporary art

    With the contemporary and modern art previously in two buildings, it was not easy for visitors to navigate the collections

    The original Beaux-Art style building from 1893 represented the old establishment and was perceived as intimidating, elitist, and closed

    After several years of planning and fund-raising, AIC broke ground on the Renzo Piano-design

    Modern Wing in 2005. The new 264,000 square foot building due to finish in 2009 will house th

    contemporary and modern collections of the AIC, as well as the architecture and photography collection

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    The institution is making headlines with the green design of the new

    building. AIC is seeking a silver certification for Renzo Pianos environ-

    mental design, which will integrate environmental features. The most

    memorable feature of the building is the flying carpet sun screen on

    the top which will filter and welcome natural light to the 3rd floor

    galleries. The Flying Carpet will save electricity consumption, reducing

    it by 20% when compared to a building with conventional systems.19

    The new, light, and transparent design will be more inviting and less

    intimidating to the visitors than the original building. The glass curtain

    wall on the northern faade will be a contrast to the closed architec-

    ture of the current building. The new building will also offer ways to

    enjoy views from the inside, bringing nature and natural light into

    the museum.

    The new wing will provide more space to reevaluate the way art is

    showcased and will allow more room for education, family, and

    student programs, further creating opportunities for AIC to diversify

    its audience. The new education center will enable a 30% increase in

    educational activities and serve more than 1,500 children and students

    a day. The education center, which will also include a teacher resource

    room and a family center, will be located on the first floor of the new

    building, easily accessible by the front door and near a special school

    bus drop-off.20

    Communicating the New Brand

    With the opening of the Modern Wing, the museum as a whole willcreate a new identity with a contemporary look and feel and a focus

    on AIC as an encyclopedic museum with ten premier collections in

    varying areas.

    AIC has used the project to engage the museum audience. Starting

    May 2006, and for six months, AIC showed an exhibition called Zero

    Gravity: The Art Institute, Renzo Piano, and Building for a New Centur

    The exhibit presented the AIC buildings development and the archi-

    tects process. The current project section of the website mostly targ

    potential donors to support it. Communications aims at providing inf

    consistently across the wide range of stakeholders at the right times

    With the reopening, the communications department will look to

    leverage publicity of the new building to attract visitors. About the

    LEED certification for the new building, Art Institute of Chicagos Ann

    Henry says: We realize that respectful and reasonable green policies

    are increasingly important, and we would certainly do our best to

    incorporate any green components that we can [in communications]

    enhancing and complimenting the many green elements in the actuaarchitecture and function of the Modern Wing."

    The Results

    In 2004, due to the opening of Millennium Park, AICs attendance

    increased by 13% to 1.6M.21 When the Modern Wing opens, the muse

    attendance is expected to be at 1.8M annually.22 The expectation is

    that, of the 3M Millennium Park visitors a year, if 20% cross the brid

    it will bring in 600,000 people. If half of those visitors then attend th

    museum, 300,000 people will have come through the doors from

    Millennium Park.23

    Though the exact projections are not available for press yet, the museuexpects activity on all levels to increase, from membership and attendan

    to programming and education. The museum hopes to attract a variet

    of new audiences to the museum in the next few years.

    The museum has also seen an increase in publicity and positive

    response from the City of Chicago since the announcement.

    We have been seen as a very traditional, encyclopedic fine arts museum. With the opening

    of the Modern Wing, we hope the museum as a whole will draw a larger and a more diverse

    audience. Anne Henry, Associate Director of Communications

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    I built MoCA to help fuse ideas and broaden the minds of local, regional, and interna-

    tional arts enthusiasts. I wanted to showcase the talents of international artists, as well

    as Chinese modern design under one roof24 Samuel Kung, Director

    5.

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    A NEWCOMERA new brand is born in Shanghai

    Redefining The Brand with Architecture

    MoCA Shanghais glass faade makes the building reflect light on a

    sunny day and allows the activity inside to be on full view when its

    dark. In Yuyangs opinion, the design of MoCA Shanghai isn't trying to

    create a manifesto for art or architecture, but rather just to tell a sim-

    ple story of how an abandoned glass building was transformed into anew public space, a story akin to Cinderella for architectureturning

    an average-looking building into the "crown jewel" in the heart

    of Shanghai.

    Visitors are required to meander through Peoples Park to enter the

    building. Mr. Yuyang mentions that the front plaza was redesigned as

    an extension of the museum and the result was an integrated space

    between museum and the park. From the inside, floor-to-ceiling glass

    walls make one feel surrounded by the nature in the park in the middle

    of busy Shanghai. The experience inside the museum is intimate

    enough so that one can focus solely on the art.

    Although the glass walls would let in far too much light for sensitive

    artworks or video projections, it was important to keep the museum

    design open for the visitor experience. The museum also has 6,000

    square feet of enclosed gallery space. The interior design is flexible and

    the museum builds temporary walls for each exhibition as necessary.

    Furthermore a steel and glass ramp connects two principal exhibition

    floors, allowing for a circumscribed and ascending viewing of large-

    scale installations in the center of the exhibition space, explains Yuyang.

    The museum offers attractive amenities and public spaces to draw in

    and engage visitors. The glass pavilion and the roof deck on the third

    floor offer panoramic views of the park and Shanghai skyline, while

    the rooftop restaurant attracts a hip Shanghai crowd. The museum

    uses these spaces for educational lectures and events aimed at

    audience development. The building also has a lecture room wherepublic programs are conducted.

    Communicating the New Brand

    MoCA Shanghai does not advertise, relying instead on public relation

    for publicity. For wider awareness and engagement, the museum use

    its facilities in a number of ways to attract the broader public. The ba

    and restaurant in the building attract people who would not necessar

    be interested in contemporary art. Another way of building interest i

    to focus on education programs for children who will be tomorrows

    visitors, donors, and artists. Youth programs are available for univers

    students and children programs are affiliated with schools, includingthe school for under-privileged children of migrant workers. The ven

    is also used for corporate events that generate press and awareness.

    Goals:

    Make contemporary art accessible and approachable

    on local level

    Become the most notable institution for Chinese contemporary

    art not only in Shanghai, but also in all of Asia and beyond

    Establish itself internationally through partnerships andexchange, as well as locally by increasing Shanghai residents

    engagement through increased membership and public

    programs

    Challenges:

    Launching and establishing a new brand in China, where ther

    exist powerful state institutions and very few private ones

    Attracting the attention of famous Chinese contemporary

    artists to a small private start-up museum, despite competitio

    from more established museums Attracting a large audience of Shanghai residents to the

    museum to ensure long-term health of the institution

    MoCA Shanghai opened in 2005 as the citys first independent, non-profit art institution. Endorsed by th

    municipal government, the museum is funded by Shanghai-born, Hong Kong-based jade dealer, Samu

    Kung, who is also the museums chairman and acting director.25 Located in the Peoples Park, the 19,400 squa

    foot building was previously built as a greenhouse and has since been redesigned by architect Liu Yuyang.

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    THE MUSEUM BRAND FOOTPRINT PAGE 18

    Public programs like film screenings and artist lectures are relatively

    well attended for such a young organization. Membership is encouraged

    through special events at the bar area. The museum recently organized

    jazz evenings for members .

    The Results

    The government officials of the Huangpu District, who initially had

    an alternative use of the greenhouse space in mind, decided to grant

    permission to Kung to operate MoCA for 20 years. The museum,

    considered young and fresh, fills a void in the contemporary art scene flocal audiences, and international museums and artists looking to partn

    with Chinese institutions. With 85% of art sold in China today being

    modern or contemporary, the museum occupies an important niche.26

    The Guggenheim selected MoCA Shanghai as one of the two venues

    China to show its traveling exhibition Art in America: 300 Years of

    Innovationfor May June 2007. The show previously was in Beijing

    National Art Museum of China from February to April 2007. In refer-

    ence to these partnerships, Liu Yuyang says, We think the design mu

    have played a role to give the partner institutions a certain level of

    confidence. The museum hopes to also form strong ties with major

    Chinese contemporary artists in order to create exhibitions that can

    exported abroad.

    There are currently 500 museum members, a group made up of most

    university students. Current daily attendance is about 75-350, depend

    on events in the museum. Approximately 300-500 people attend ope

    ings. Admission and involvement has been increasing, but Samuel Ku

    cautions: We are still young and new to the public, and that there i

    a lot of work to be done to have the museum support itself. Admissio

    fees, space rentals for corporate events, and the restaurant are bringi

    in revenue. But the museum would like to build its audience (membe

    ships are key) in order to attract corporate and private donations, aforeign practice in China. The museum is also considering merchandisin

    When the building has become a part of the city, how art enters ones life is not limited to

    the physical exhibition space. Rather, its how the museum as an institution brings a certain

    culture to the city. Architecture has certainly played a crucial role to the success of MoCA

    Shanghais position as an institution. What the architecture provided, besides being a shelterfor the art, is the possibility of new events and new culture being created.

    - Liu Yuyang, Executive Architect

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    THE MUSEUM BRAND FOOTPRINT PAGE 19

    Redefining The Brand with Architecture

    The project is part of a bigger effort by the city of Toronto to reposi-

    tion the city as a cultural destination, sometimes referred to as the

    cultural renaissance of Toronto. Royal Conservatory of Music, Royal

    Ontario Museum, The Canadian Opera Company, National Ballet School,

    Gardiner Museum of Ceramic Art, and Ontario College of Art and

    Design have all commissioned expansion projects to renowned archi-

    tects in an effort to redo the citys entire cultural infrastructure.

    The museum wished to preserve its existing footprint, but also to expaexhibition space and reinvigorate the institution with a fresh image.

    To do the job, AGO selected Frank Gehry. This will be Frank Gehrys firs

    project in Canada, it also happens to be in his native city, down the

    street from where he grew up. Gehry said that he took his cues from

    the museums surroundings and that he is very interested in making a

    building that fits into the neighborhood.28 Frank Gehrys selection is

    sure to boost civic pride and help reposition the museum in the hearts

    and minds of the Toronto residents. The new design will enable more

    Canadian art to be on view, with total exhibition space increasing by 47

    6.RENAISSANCEArt Gallery of Ontario is turning Toronto into a new cultural destination

    Goals:

    Place AGO which has one of the largest collections in North

    America on the cultural map Attract cultural tourists to Toronto

    Make the museum more relevant and welcoming to the

    people of Toronto

    Challenges:

    Toronto has been historically behind Montreal and Vancouve

    as a major tourist destination. After the 2003 SARS outbreaktourism diminished so much so that, in 2006, the number of

    tourists lagged below September 11, 2001 levels 27

    Despite its popularity in the greater Toronto area, some in th

    neighborhood did not find the museum a neighborhood

    resource and had the stereotype of it being distant and elitist

    Art Gallery of Ontario launched an institutional rebranding campaign in 2002 called Transformati

    AGO, promising to bring a new building, new art, new ideas, and a new future to AGO. At the hea

    of this campaign lay the redesign and expansion of their current building by Canadian-born architect Fran

    Gehry. Construction began in 2005 and AGO will be fully closed to the public for the last year of th

    construction, leading up to the new facilities re-opening late Fall 2008.

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    THE MUSEUM BRAND FOOTPRINT PAGE 20

    "(The strategic plan) is forming the way we think into the future, it's forming the way we

    collect in our collecting areas, it's forming the way we will plan our interpretation and

    how we engage with the public and how we create a visitor welcome to embrace both

    international audiences and our domestic audiences It's beyond the building walls"

    - Antonietta Mirabelli, Manager of Communications

    Most importantly, the design will make the muse-

    um more transparent, therefore less intimidating

    and more welcoming. The exterior glass canopy,and the redesigned entrance that aligns with the

    Walker Court (the historic heart of the museum),

    will bring in more light and make the building feel

    more open.

    AGO aims to become a multi-purpose destination, and

    to diversify its audience in the process. The building will

    offer a place to enjoy city views and will house the shop, restaurant,

    caf, and a free contemporary art space, all open until late. This new

    addition will bring life into the museum after dark, creating greater

    opportunities for engagement with a hip young audience in Toronto.

    The new AGO will improve the experience of enjoying art inside the

    museum. The design will allow more art to be on view and appeal to

    different interests: Galleries for Canadian art, contemporary art,

    European art, photography, prints, and drawings will be expanded.

    The interior is designed so that visitors can circulate with more ease.

    Furthermore, the museum is investigating making more of its

    operations - art storage displays, conservation, education, and

    research areas - visible to visitors.

    Communicating the New Brand

    Transformation AGO and the Art Matters CampaignAGO launched a transition brand called Transformation AGOto

    announce changes at the organization and build interest in the opening.

    As a part ofTransformation AGO, Art Gallery of Ontario started a cam-

    paign calledArt Mattersto talk about the role of art in peoples lives.

    The Importance of Online Marketing

    Ian Rubenzahl, Manager of New Media Design at AGO, explains: Our

    objective is to support, via new media, a more transparent institution

    that is relevant to a diverse community of stakeholders. The target

    groups range from current and prospective AGO

    Members and visitors to volunteers and campaig

    supporters. The Web is also used as a majorplatform to keep up communication with AGOs

    audience during the yearlong closure.

    The AGO microsite dedicated to the expansion pro

    ect is dense with information separated into section

    on each tenet of the expansion (new art, new building,

    new ideas, new future). The site speaks to a wide audience

    stakeholders and offers a lot of content, creating a hub for project

    related information. It also provides visitors with information about

    Frank Gehry, construction updates, webcam and construction photos, a

    detailed section on finances, timeline, economic benefits, and an optio

    to contribute online.

    The new media extensions of the AGO site works to engage the muse-

    ums diverse stakeholders. The blog (www.artmatters.ca) exists to speak

    to various audiences and learn more about how the collections reverb

    ate with them. Visitors can express their views, read others statement

    click through theArt Mattersblog, or listen to Art Matterspodcasts. Th

    podcast feed has been used to experiment with different kinds of audi

    content, from public lectures, panels, and interviews to podcast tours o

    exhibitions. The museum is also experimenting with placing the blog o

    the gallery floor with a kiosk and URL bookmarks that invite feedback

    and participation.

    Then there is Collectionx.museum, an attempt to redefine virtual collec

    tions and exhibitions. Not only can users create their own exhibitions

    from AGOs collections, but they can upload their own collections and

    invite others to participate. The site employs RSS and podcasting to

    extend participation beyond the website itself.

    In addition, AGO has employed social networks such as Flickr to exten

    public participation around exhibitions such asIn Your Face: The Peopl

    Portrait Project (http://www.flickr.com/groups/artmatters/). This group

    has more than 800 members who have posted close to 8,000 photos.

    Art Gallery

    of OntarioOur objective is to support, vianew media, a more transparent

    institution that is relevant to a

    diverse community of

    stakeholders - Ian Rubenzahl,

    Manager of New Media Design

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    Engage The Community

    Soon after the project launched, AGO realized that, while the museum

    received positive response about the project from the greater Torontoarea and tourism audiences, a mechanism for feedback from the imme-

    diate community around the museum had not been fully engaged. The

    museum quickly formed a community consultation team to build a rela-

    tionship with the 10,000 neighbors living around the museum. Beverley

    Carret, Manager of Government and Community Relations, explains that

    her goal with the community outreach is to: "reinforce that AGO is a

    community destination, something that neighbors should consider to be a

    place that they would like to drop by, like a library or a community center."

    AGOs Frank Gehry exhibition, shown February to May 2006, aimed to

    present the AGO project as an important part of the architects career.

    After Frank Gehry unveiled the schematic design of the new AGO, themuseum engaged in the consultation process with a working group of

    neighbors to help refine the design. Initially, periodic community meetings

    attracted up to 100 attendees. Now that the design is under way and

    the community is well informed, these meetings are held three times

    a year, and attract a few dozen people.

    AGO created a neighbors bulletin that is emailed to a list of 300 monthly.

    The bulletin includes a brief construction update, as well as a list of upcom-

    ing events that include walking tours, art exhibitions of works by area

    school children, and neighborhood meetings. The team also set up a hotline

    for locals to call with community issues or questions about the project.

    The museum installed programs to attract some of the community

    groups that were previously underrepresented. Through the community

    membership program, tenant representatives were selected for each

    housing group and given up to five family memberships to distribute

    within their communities. These representatives in turn became an

    important bridge, communicating the AGO goals to the tenants and

    bringing any of their concerns back to AGO.

    AGO also started a pilot program to reach out to the newest Toronto

    residents. Each week for 4 months, AGO representatives attended a

    new Canadian Citizenship ceremony and offered free one-year familymemberships to new citizens.

    As a part of theArt Matterseffort, the public could submit their Art

    Mattersstatements in the lobby when the museum was partially closed.

    Teams made up of 45 volunteers called AGO is a GO attend local

    festivals and engage people in the project and give out Art Matterspins.

    Also during the time that AGO will stay closed -until late 2008- the

    museum will keep its education program active, offering classes to

    adults and children.

    Internal Communications

    AGO set up an intranet site that is a one-stop source for all project-

    related questions. The site is updated daily and is the first thing thestaff sees when they log on every day. Staff can submit questions

    anonymously, as well as read the strategic plan, get information on

    the pension plan, and catch up on the activities of other department

    In addition, there are quarterly staff meetings for project updates.

    AGO ran ads in major print media that featured AGO supporters -

    donors, docents, volunteers, and artists and their statements on wh

    they thought art mattered. There was also Art Mattersthemed signag

    outside the museum.

    The Results

    The community efforts have so far paid off most community membare supporters of the project. Membership increased by 4,000 during

    the construction phase due to built-up excitement. Total membership

    is now at 54,000. The museum expects the yearly attendance to

    increase to 800,000 visits in the first 12 months of operation after th

    launch, settling to 650,000 visits annually by 2010/11.

    Toronto is being promised major economic benefits as a result of th

    project due to increased tourism, new jobs, and attracted investment

    The expansion alone is estimated to have pumped $100M into the lo

    economy, $96M in local labor income, $54M in tax revenues, 245 new

    jobs, and $12.7M in new tourism revenues. The project has solidified

    the cultural renaissance in Toronto and garnered many articles

    promoting it as a destination. AGO has also inspired an effort in

    Montreal to reclaim the cultural status.

    Collection-x just launched a couple of months ago and has hundreds

    of registered users so far. The artmatters.ca podcasts are downloaded

    2,000-4,000 times a month and the blog receives about 30,000 visits

    a month.

    THE MUSEUM BRAND FOOTPRINT PAGE 21

    The renaissance in Toronto with all the new cultural buildings, has raised the awareness of

    culture, and its going to help us, it already started to, in broadening our audience.

    - Arlene Madell, Director of Marketing and Visitor Services

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    7. A CLEAN SLATEMiami Art Museum spearheads change in downtown Miami

    THE MUSEUM BRAND FOOTPRINT PAGE 22

    Goals:

    Reinvent current identity to become the central art institution

    in Miami, one that is notable nationally and internationally

    Get visitors to associate MAM with centrality bothphysically at the heart of the city and artistically at the

    epicenter of art in Miami

    Challenges:

    MAMs collection is relatively small and needs to be expande

    before the new museum opens

    Downtown Miami is not a cultural destination

    In 2001, with the support of the citizens of Miami, Miami Art Museum (MAM) embarked on a new buildinproject that will be a part of Museum Park a 29-acre area on Biscayne Bay that will include MAM an

    Miami Museum of Science and Planetarium. $100M of the $220M project cost is being paid by the coun

    bond that was issued for the project. In September 2006, the museum announced its selection of Sw

    architects Herzog & de Meuron to design the 120,000 square foot new building, due to open in 2012.

    We have got to pull our strengths together to create a destination and a brand that conveys

    the substance of a destination to our audience

    - Richard Townsend, Deputy Director for External Affairs

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    What Miami really needs is a museum that can do more in one place and be more of

    a home for the city.

    - Terence Riley, Director

    Redefining The Brand with Architecture

    Prior to the expansion, Miami Art Museum occupied about 24,000

    square feet of space. The new facility will increase its size five times, to

    about 125,000 square feet - a size more suitable for the kind of focal

    civic art establishment that MAM wants to become. The larger museum

    will enable the curators to tell the history of modern and contemporary

    art in a more complete way. It will also house temporary exhibitions,

    an education complex with a library, an auditorium, classrooms, and

    workshops. In addition, the museum will feature amenities, like restaurants

    and cafes, to turn it into a destination and an engine for social and

    economic change in downtown Miami.

    The museums other main goal is to gather under one roof the disparate

    strands of artistic endeavor in Miami including art produced by local

    artists, art collected by local collectors, and the local art market. MAM

    wants a larger footprint to provide a more centralized artistic experience

    in Miami, accommodate the large amounts of visitors coming to

    Miami for art, and serve Miami as it becomes a more populous and

    cosmopolitan city.

    The most ambitious task for the new Miami Art Museum is to build a

    cohesive collection almost from scratch, attracting donations from pri-

    vate collections to the public domain. The museum hopes that the new

    building will convince private collectors to donate, presenting a uniqueopportunity to build the architecture and the collection together.

    Communicating the New Brand

    Miami Art Museum communications will be tasked with creating the

    kind of art institution that does not currently exist in Miami. A new

    identity will signify the difference between this institution and others,

    one that is strong, contemporary, fresh, and international to better

    communicate the expanded scope to different constituents Miami

    citizens, the art scene, and cultural visitors. Centrality will be a main

    point to get across and will help turn the building into a destination.

    The redesign will be rolled out in stages. The communication depart-ment decided that it is too soon to launch the new identity, as the

    institution is currently in the process of becoming while building its

    collection. With four years until the final product, the museum will

    start the rebranding process with a capital campaign and a transitional

    identity. They will then adapt the transitional identity to finally arrive

    at the new identity when the museum opens in 2012.

    MAM is bringing the Miami community into this exciting process.

    There was a meeting in October of 2007 to present conceptual

    drawings and solicit public support and feedback. Architectural plans

    for the building were unveiled at a show prior to Art Basel 2007, whi

    showed the evolution and development of the design, while involvin

    the community.

    The Results

    Richard Townsend, Deputy Director for External Affairs at the Miami

    Art Museum said that the museum offers powerful potential to

    become an engine for social and economic change for the city. The

    expected economic impact of Museum Park is $2B, with 1,700 jobs creat

    annually.29 The opening of MAM, together with Miami Science Museu

    and Carnival Center for the Performing Arts, is expected to cement

    downtown Miami as a cultural hub - a major goal for the downtown

    revitalization. The expected attendance following the opening is betwe

    200,000 and 250,000 a year.

    The community consultation process has begun as well. Though ther

    were some doubts raised in the Miami art community about the poss

    bility of MAM filling its future size, the city approved a grant to buy

    the land for the new museum space, and plans are moving forward.

    An earlier bond oversight board meeting can be seen on YouTube.

    In December 2006, MAM announced a new partnership with Miami

    Art Central (MAC) - a local private art collection specializing in Latin

    American contemporary art owned by Ella Fontanals-Cisneros. The

    partnership enables MAM to present at the museum more cutting ed

    contemporary art programs and has led to MAC being folded into MA

    In addition, by the spring of 2007, Miami Art Museum added almost 20

    works into its collection valued at $10M. These included a monumen

    sculpture by Leger, a 100-piece contemporary photography collection

    the first edition of six video works by Doug Aitken called Sleepwalke

    which is being tailored to go on the new buildings walls. In late 200

    there were some other significant donations from private collectorsincluding Jeffrey Loria, Dennis Scholl, Mimi Floback, and Craig Robbin

    MAM also received a gift of $500,000 for education programs aimed

    underserved teenagers. The programs will use the building to inspire

    others and create a community.

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    Redefining The Brand with Architecture

    Much like how the Walkers multi-disciplinary

    mission challenges traditional art institutions, thenew building challenges the traditional white box

    gallery concept with the off-balanced setting of

    its tower and asymmetrical windows on the

    facade. The new Walker is uniquely designed to

    present diverse forms of contemporary art simul-

    taneously (eleven galleries, a new 385-seat the-

    ater, and a refurbished cinema). It encourages

    artistic experimentation, dialogue, and social interaction in lounges

    throughout the building where visitors can rest and talk about their

    experience.

    One of the goals of the expansion was to respect the original 1971building designed by Edward Larrabee Barnes, while improving on the

    visitor experience. Herzog & de Meurons new building highlights the

    Barnes building by removing late additions and focusing on the verti-

    cality of the original building by mirroring it in the new aluminum

    tower. Before the expansion, the main entry was a small entrance

    tucked away on a side street, giving a reclusive or almost elitist air

    to the institution. The two structures also now linked by a series of

    galleries on the ground floor.

    A new entrance was oriented to the broad and

    busy Hannepin Avenue in a way to almost

    celebrate traffic.30

    The buildings glass curtain wall and large win-

    dows reveal the vitality inside to those that driv

    by. Inside, the windows reveal the dynamism of

    the city, offering views of the garden and down

    town Minneapolis. There are two lobby and

    lounge areas where one can look through the

    entire building to see the park and city views.

    The idea is to use the building to engage and encourage arts-related

    or social dialogue. Phillip Bahar, Director of Marketing and Public

    Relations at the Walker, explains that a major goal for the Walker is tbe civically engaged and serve almost as a town square, to become

    meeting place where people might bump into other people, arts o

    ideas. Herzog & de Meurons new space achieves this goal with the

    creation of spaces where groups of varying sizes can interact. Group

    can stroll through the galleries together and individuals can enjoy ar

    in quiet, contemplative corners.31 There are lounges and interactive

    areas throughout the building, placed between galleries, where peop

    can pause, reflect, discuss, and learn together.

    THE MUSEUM BRAND FOOTPRINT PAGE 24

    8.CONVERGENCEWalker Art Center creates a bridge to the community with a new addition

    Goals:

    Communicate the multi-disciplinary nature of the Walker as

    more than a museum, as a dynamic and welcoming center for

    people with different arts interests

    Reinforce the Walkers commitment to artistic creation

    and dialogue

    Diversify the audience and engage new groups

    Challenges:

    On a national level, staying top-of-mind and differentiating

    itself from other contemporary art institutions

    The Walkers multidisciplinary missionvisual arts, performin

    arts, and film/videowas not well understood within its broad

    community

    Walker Art Center, which is known as one of the most cutting-edge contemporary art museums in t

    US, opened an addition designed by Herzog & de Meuron in April 2005. This was the Swiss architec

    first museum building in the US, coming right after their successful design of Londons Tate Modern.

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    THE MUSEUM BRAND FOOTPRINT PAGE 25

    The building also has a number of amenities to bring people in for

    social gatherings: two new restaurants operated by Wolfgang Puck,

    coffee and wine service in the garden lobby, a new shop, an event

    space called the Skyline Room which can accommodate up to 400

    people - and new terraces. The building also enhanced the museums

    public programming and learning spaces.

    The new design added space for the Walkers diverse program areas:

    11,000 square feet of additional gallery space (33%), a 385-seat theater,

    a remodeled cinema, audio and video bays, and an information lounge.

    Communicating the New BrandThe Walker embarked on a strategic PR and marketing plan in stages

    leading up to the introduction of the new institution, addressing the

    communication goals of presenting the new institution as a welcom-

    ing, multi-faceted and happening contemporary art center.

    Walker without Walls 2004

    When Walker Art Center closed for the construction of the new build-

    ing for one and a half years, the museum launched a campaign called

    Walker without Wallsto stay culturally visible and increase excitement

    for the upcoming re-opening. Walker without Wallsprimarily targeted

    people who already engaged with the Walker, but it also aimed to

    develop new community relationships. The campaign was kicked off byan all night party at the Walker in February 2004, the night before the

    museum closed for construction.

    The campaign was a coordinated yearlong series of art events held in

    various venues throughout the region. The events were well attended

    more than 25,000 attended the artist-designed mini-golf tournament,

    and 3,000 attended the opening night of the Music & Movies series in

    Loring Park.

    A uniformWalker without Wallsidentity played on the subway map

    theme to represent the different stops to the reopening, while also

    representing the multi-disciplinary nature of Walker Art Center. The

    identity was superimposed on pre-existing Walker communications

    (calendar, letterhead, web site, and tourist postcards), the physical

    environment (sidewalks and walls), and on advertising copy. Signage

    around town (train stops, billboards, sidewalk stencils, mobile signage

    and walls), as well as print and online, encouraged participation in

    the events. An ice cream truck distributed frozen treats along with

    information on the Walker without Wallsprograms.

    Internal Communications

    Walker Art Center had periodic staff meetings where the managemen

    provided as much information as possible to the staff in order to

    encourage word-of-mouth. The museum helped with the elevator

    speech and answers to potential questions for when friends and

    family asked staff members about the construction and changes tha

    would follow.

    Walker Launch Campaign: Where (blank) Meets (blank), 2005

    For the reopening, the Walker ran an integrated marketing campaign

    that announced the new building and with that the redefined institu

    tional identity emphasizing on the institution's multidisciplinary

    nature. "Where __ meets __" essentially became the template forintroducing the key messages like artistic depth (where Yoko meets

    John), multiple disciplines in contemporary art represented inside the

    Walker (where paint meets pixels), the town hall concept for social

    interaction (where art meets life) and the physical locale (where

    Hannepin meets Lyndale)."

    "The campaign was predominantly regional with some national presen

    and appeared in a range of media executions including magazine ads

    billboards, bus shelters, and wildpostings.

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    Walker Expanded The New Graphic Identity, 2005

    For the opening, Walker designed a new identity to signal the changes

    at the institution. Treated like a roll of tape, the new identity visually

    conveys different touchpoints (Walker Art Center, walkerart.org,

    Minneapolis Sculpture Garden) disciplines (performing arts, film/ video,

    visual arts) and artistic programs offered (exhibitions, lectures, screenings,

    tours, workshops, theater, music, film) at the Walker, in an on-going

    scroll. It is visually catchy and easily adoptable to different disciplines.

    The strip visual is applied on all printed and electronic communications,

    as well in and around the building. Business cards, letterhead and visitor

    guides feature the scroll on top. A projection listing the upcoming

    events scrolls on the faade of the building. The scroll is also displayed

    inside on the walls of the lobby, the parking ramp and the shop.

    Ongoing Communications

    Walker uses "group ads" on an ongoing basis to promote a full-range

    of Walker offerings. Exhibitions, performances, films, and lectures are

    all announced in single advertisements. As a result Walker not only

    highlights its multidisciplinary mission, but also stretches its budget

    on advertising.

    Since 1997, Walker Art Center has organized parties called Walker After

    Hoursthat target young, trendy professionals in the Minneapolis area.

    The events feature a first look at exhibitions, music, and cocktails.

    Attendees can visit a section of the party sponsored by Target andtake photographs that are posted on the Flickr Walker After Hours

    photo group.

    Walker Art Center provides wi-fi access in the lobby, and Art on Call,

    the Walkers free cell phone audio tour.32 Also at Walker, visitors can

    use the social interaction technology called Dialogueto learn about

    the collection in a way that sparks curiosity and encourages exploring.

    Walker Art Center already offers rich artistic content on the Web.

    Especially successful is their blog section. The Walker blogs constitute

    the most popular part of the site with a monthly average of 115,000

    user sessions. The Walker blogs readership is mostly concentrated

    locally, but also extends nationally and internationally, especiallyto Europe.

    Leveraging Web 2.0

    New media tactics help the museum reach new audiences. Walker Art

    Center New Media Initiatives group looks into innovative ways of

    connecting with audiences through podcasts, videocasts, IPTV, RSS

    feeds, Flickr, YouTube, and social networks like Facebook and MySpace.

    The group, in partnership with the McKnight Foundation, developed

    mnartists.org, an online gathering place for Minnesota artists and art

    organizations from diverse disciplines. The site provides a platform for

    artists to present themselves, for the public to get to know them

    and interact with them, as well as a schedule for Minnesota-based

    arts events.

    In order to engage teenagers and help them connect with contempo

    rary art and artists, Walker Art Center set up Walker Art Center Teen

    Arts Council. WACTAC is made up of 12 young people who meet wee

    to design, organize, and market events and programs for other

    teenagers and young adults. The Walker just launched a dedicated

    WACTAC site to engage the teens online.

    Social networks such as MySpace and Facebook help reach a younge

    online audience, as well as those interested in getting a behind the

    scenes look at the Walker and staff viewpoints on various topics.

    Walker Art Center has 3,909 friends on MySpace. Its MySpace page

    includes information on the museum, an events calendar, and an

    option to buy tickets. There are also links to the Walker blog. The blog

    entries are written in a short and approachable way to better connec

    with the audience, and not in the traditional institutional language.

    The postings focus on topics that would be of interest to the younge

    audience, such as bands on the run and the after hours parties. Walk

    also recently started a profile on Facebook.

    There are several Walker Art Center-affiliated groups on the photo

    sharing site Flickr. There is an extensive folder of pictures of the new

    building, but also Walker After Hoursphotos, and photos from Walke

    Art Center Teen Arts Council events and happenings.

    The Results

    The selection of the intriguing architectural duo, Herzog & de Meuro

    and the fact that the Walker was their first museum project in the U

    ensured that the reopening received national and international press

    coverage, even though it was soon after the broadly covered reopeni

    of MoMA in New York. Though not the main goal for the expansion,

    the placement of Minneapolis back on the cultural tourism map was

    welcome result. In the January 2006 issue, Travel & Leisure named

    Minneapolis one of the five up-and-coming destinations. 33

    The Walker Art Center expansion did not attract the kind of criticism

    expanding museums sometimes face. Largely due to the architecture

    and the museums mission being so integrated, there have been no

    suggestions of growing corporate influence or aiming to attract

    crowds at the expense of a cutting-edge artistic point of view.

    Walker considers the campaign a big success in increasing awareness

    of the museum and its programs. It has helped to maintain and

    increase event audiences throughout the year.34

    THE MUSEUM BRAND FOOTPRINT PAGE 26

    The purpose of the Walkers expansion was to provide each of its primary program areas

    visual arts, performing arts, film, and educationwith its own space under the larger

    institutional umbrella. Making the institutions programmatic priorities physically visible and

    encouraging the cross-pollination of the Walkers various audiences was one of its major

    goals. - Philip Bahar, Director of Marketing and Public Relations

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    How to maximize theimpact of an expansion

    and extend the image ofa museum through

    communication

    Evolvingthe Footprint

    ThroughCommunications

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    THE MUSEUM BRAND FOOTPRINT PAGE 28

    Whether its the entire museum

    being rebuilt or the addition of a

    new wing, the museums surveyed

    have adopted or plan to adopt new

    identities to fit their vision and image.

    When the Modern Wing opens, AIC will

    launch an identity that will reflect the contemporary feeling of the

    building for the entire institution. Similarly, MoMA updated its identity

    when the Taniguchi building reopened. Miami Art Museum foresees

    that the new identity will fit the new Herzog & De Meuron building

    with its fresh, clean, contemporary, and international look. Walker Art

    Center adopted a new identity at the reopening that was both visually

    catchy and adoptable to different disciplines.

    The degree to which the building is prominent in the new graphic

    identity ties back to the institutions mission and brand goals. The

    buildings sculptural quality determines its place in the logo.Milwaukee Art Museum, wishing that the Calatrava building would

    become an international tourist destination, featured the building in

    the logo that launched at the reopening in 2001. The Guggenheim

    Museums identity also ties back to the architecture, as the foundation

    considers architecture a major brand asset.

    AGO conducted a kitchen table-style brand study among key constituents

    and determined 13 brand value attributes, one of which was All of the

    brand attributes were later boiled down to three major brand tenets

    that formed the new identity for the 2008 reopening: extraordinary

    visitor experience, excellence in collections, and leaders in interpretation.

    Communications departments can measure the PR potential of the

    selected architect to measure the impact on attendance locally, nationally,

    or internationally. This can be done by conducting surveys on the recall

    of the architect among the