The article presents the corporate style as the leading project method in design in XXth century and its use in the design of the urban environment in the form of a local architectural and artistic style of the ensemble. It has become widespread in the organization of pedestrian streets in urban centers as a means of stylistic harmonization of diverse buildings and increasing the artistic expressiveness of the spatial ensemble. The striking example is the reconstruction of the Nikolayviertel in Berlin and his development into a territorial brand. At the same time, the graphic, artistic and stylistic accompaniment of the territorial brand became a logical continuation and development of its local architectural and artistic style, embedded in the architectural context, enhancing its imaginative component and the general artistic «positive». The modern post-industrial society brings with it changes that have affected the artistic and aesthetic qualities of the environment. Instead of an «open-air museum» with a clearly organized historical and architectural exposition, the visitor is offered a «settled» and a little shabby in the «shabby chic» style urban environment with picturesque green corners of cafes and restaurants.


  • The concept of «corporate identity» appeared in the 1960s and 1970s in the professional language of Russian designers as a derivative from English «design coordination and corporate image»

  • The maximum localization of the artistic and stylistic trend is the so-called «corporate identity», which is created by a specific author or group of authors for a specific object - a company, or a specific event

  • Having passed more than a century's path of development, including a number of stages, corporate identity has grown into branding - a unique phenomenon of our time, spreading in various fields of human activity

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The concept of «corporate identity» (corporate ID) appeared in the 1960s and 1970s in the professional language of Russian designers as a derivative from English «design coordination and corporate image». The well-known design theorist Vyacheslav Glazychev defined the corporate identity (corporate ID) as «a set of visually perceived features that cause a stable stereotype of a particular industrial or trading company in the consumer. «He associated the emergence of corporate identity with the activities of the famous German artist and architect Peter Behrens. Glazychev identified the phenomenon of corporate identity with the beginning of industrial design in general (calling it a «hidden definition of design») and linked this process with monopoly capitalism [1]


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