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名牌标识构成的巴黎旅游形象

名牌标识构成的巴黎旅游形象

Risto-Jussi Isopahkala设计的巴黎旅游形象,结合了巴黎的地标建筑和各种商业标识。该旅游形象选取了各种最有价值的百年品牌标识,用以组成巴黎的风景及凯旋门(Arc de Triomphe)等图形。

广告的产生和流行文化共同缔造了另一个我们可以与他人分享的虚拟现实,共同的文化产生共同的价值取向,沟通规则则是由商业媒体制定。地标建筑是每个城市的重要符号,它如何与克隆在全球各地的商业品牌冲突呢?后福特主义(Post-fordism)要求以满足个性化为前提,严格说来个性化不适用于地标建筑,地标建筑通常不考虑作为商品价值。但对于游客来说,地标建筑不过是可消费的商品,消费商品可以给外人更好的印象。象巴黎这样墨守成规的城市,这是可以转化和随处消费的。品牌标识是消费的一部分,类似虫洞理论(Worm-hole Theory),壮观的消费大军在虚拟与现实之间建立了时空隧道。

名牌标识构成的巴黎旅游形象

Shit We’re Diggin: Risto-Jussi Isopahkala’s Logo Tourist Paris
Logo Touris mixes iconic landmarks and commercial logos. It features logos from the hundred most valuable brands.
The spectacle of advertising and popular culture creates secondary realities which we can share with others. Common literacy creates common identity. Rules of communication are determined by commercial media.
Iconic landmarks are symbols of local identity. How does this conflict with commercial brands appearing cloned around the globe? Post-Fordistic theory of all things starting to remind one another unpersonally and unhistorically, doesn’t strictly speaking apply to monumental architecture, which symbolizes values that are not generally considered as merchandise. For tourists these are nevertheless consumable commodities, available to outsiders as well. Stereotypes of cities, such as Paris, can be transferred and consumed everywhere. Identity is comprised of consuming. Resembling worm hole theory, consumption spectacle creates portals between collateral realities.
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