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Download Download DIGITAL BRAND EXPERIENCE IN THE CONTEXT OF CULTURAL HERITAGE – A PILOT SUDY Arja Lemmetyinen1; Lenita Nieminen2; Abstract The aim of this case study is to explore whether, and if so how, digitalization adds value to the perceived brand experience. We interviewed four people for this pilot study, two of them representing the provider side of the brand, the Alvar Aalto cultural route and two representing the prospective visitors to one of the destinations along the route, the Ironworks Village in Kauttua, in Finland, with its two sites, the Terrace House and the Jokisauna. Many of the benefits of the digitalization of the brand were discussed through reflections on the empirical accounts of the informants that included the brand equity dimensions: brand awareness, brand associations, brand quality, loyalty and prospective digital value. A forthcoming study will focus on the digitalization stage of the brand and the perceptions of prospective visitors will be gathered more widely by way of a survey instrument. Key Words: brand experience, cultural route, digital brand, Alvar Aalto JEL classification: Z10 Introduction The aim of this pilot case study is to explore, in the context of cultural heritage, whether and how digitalization adds value to the perceived brand experience. The study presents a route around cultural heritage sites consisting of individual buildings in Finland and globally designed by the world famous Finnish architect, Alvar Aalto, a pioneer of modern architecture and design. Aalto incorporated the principals of user-friendly, functional design in his architecture, which first emerged during the 1920s. The architectural expression of Aalto‘s buildings was enriched by 1Arja Lemmetyinen, D.Sc., university researcher, Turku School of Economics at the University of Turku, Pori Unit, +358 50 5200770, [email protected] 2Lenita Nieminen, M.Sc., project researcher, Turku School of Economics at the University of Turku, Pori Unit, +358 50 3750359, [email protected] 25 the use of organic forms, natural materials, and an increased freedom in the handling of space. Aalto also designed many town plans. He also began to design furniture in the 1920s and was still very active in the 1960s and 1970s. There is an Alvar Aalto museum in Jyväskylä, the architect‘s home town. In 2017, a group of 23 cities in Finland with connections to Aalto started a networking project with the aim of creating an international brand for a new Alvar Aalto cultural route. The route has been developed in partnership with the experts of the Alvar Aalto Foundation, tourist guides, and local tourism business operators from each area in Finland. In the future, the network of the route will be extended to include locations in 16 cities outside Finland hosting significant buildings designed by Alvar Aalto. The Alvar Aalto Foundation coordinates the project and has received funding from the Ministry of Education and Culture in Finland for the productization of cultural tourism. A new web service for visitors interested in traveling to sites featuring Aalto‘s architecture will be launched in May 2018 (visit.alvaraalto.fi). The Aalto Foundation is already using its website to promote the route as a themed tourism product combining architectural attractions connected to Alvar Aalto nationally and internationally in combination with premium travel services: The site introduces you to a selection of prime examples of Alvar Aalto‟s architecture and high-quality travel services, forming fascinating Aalto- themed routes around Finland. (alvaraalto.fi) In today‘s digitalized world, it is an only natural evolution of a cultural tourism brand like the Alvar Aalto Route to promote its services globally online. However, since most of the sites are not yet presented online, we concentrate in this pilot study on exploring the added digital value more or less as a prediction of the perceived added value. The phenomenon of value perception is discussed here both as a dimension of the classical customer-based brand equity, and in terms of how a digital customer experience can serve as a brand building element. The joint brand identity of the actors reflecting the cultural heritage of the region Lemmetyinen (forthcoming) has analyzed two case networks in the context of cultural heritage. Moreover, she focused on how the actors of 26 the networks perceived the brand identity of the network and how it was linked to the cultural heritage of the region it represented. The analysis of the two case networks shows that there is a connection between how the community is committed to its cultural heritage and the building of the brand identity of the place or region. The joint brand of a region or a destination is a symbolic sign of the cooperation that helps the marketer or the brander to harness single cultural firms together to promote a place brand (Lemmetyinen, 2010). The most essential issue is that the actors of the network are committed to a joint brand and that they share values, stemming for instance from the cultural heritage of the region. One of the two networks Lemmetyinen (forthcoming) investigated in her study is also focused on in this paper. In this specific case network, the Ironworks Village, the commitment was evident at least to some extent, whereas in the other investigated network there were no such signs at the point of the investigation (Lemmetyinen, forthcoming). The mental structures and processes of the cooperation (see Lemmetyinen, 2010) reflect the joint values of the actors of the network. These, again, are visible in building the brand identity of the network. The brand theorist Schroeder (2009) states, nevertheless, that in order to be able to understand the brand identity of a network, one must research the culture, the ideology, and the politics involved in it. The elements of brand identity are as important to the identity of a place as are the better- known concepts of the strategy and the value in the context of brand building. In the case of the Ironworks Village, the cultural manager had for a long time coordinated the brand building process and this was clearly shown in the mental structure of the cooperation, which was grounded on the joint values of the actors and expressed in the joint place brand. When the cooperation has reached this level, the need for external coordination diminishes, and the actors of the network start to be more self-guided. From the viewpoint of the successful cooperation it is essential, however, that the actors feel affinity, which according to the interpretation of Lemmetyinen and Go (2010) reflects the level of the commitment the network-based community is attached to the joint values, the shared vision, and the umbrella brand. Those people responsible for building a place or a network brand based on cooperative relationships between the actors, have to be aware of not only the traditions of the respective cultural heritage (Lemmetyinen & Go, 2010; Bianchini & Ghilardi, 2007) but also the current socio- economic reality of the place, and also its cultural life and the events 27 occurring in. This certainly seems to apply in the case of the Ironworks Village, where the cultural manager and the personnel manager together coordinated a wide network of cultural actors. The coordinated cooperation in the network helps the actors involved with it see the benefits of the cooperation, and to recognize and develop their capabilities in managing the network. Among these capabilities there are the brand building of the network or the region, learning together, and value co-creation, as well as managing and orchestrating the network (Lemmetyinen & Go, 2009). The development of the cultural business and tourism in a manner that has a positive impact on the economy, culture, and environment of a region, demands resources. The coordination of the cooperation in the cultural networks does not benefit tourism alone but encompasses other fields in the creative cultural cluster too (Lemmetyinen, 2015; Lemmetyinen et. al, 2015). At the basic level of the process of building the brand identity it is important to cement the strategic partnerships between the actors of both public and private sectors, since this is the only way the necessary platforms to be able to evolve. The case of the Ironworks Village has exemplified this fundamental requirement for a long time already. The idea is to bring the actors together in order to form ―a value creating, intentional or strategic network consisting of firms, organizations and facilities – which serve the specific needs and wishes of the customers and consists of actors, who are devoted to the activities and control the resources in cooperation with the other actors of the network‖ (Lemmetyinen, 2010, p. 20). Bianchini and Ghilardi (2007), again, call for a more holistic, multidisciplinary, and lateral view on place branding, according to which the administrators responsible for it should invite urban historians, sociologists, anthropologists, political researchers, and psychologists to participate in the brand building process. This shows respect for diversity and an intention to move away from the tight boarders of fields and sectors. The factors improving and extending the digital customer experience This section leads us to the classic theory of customer-based brand equity, which has been a target of marketing and branding literature for decades. Combining the concept of brand equity with the digital customer or brand experience is not a usual way to research a phenomenon. As we see it, 28 there is a need to understand customer experience in the context of digital offerings too. The rise of the customer experience to become a topical theme started from the usability and user experience. A natural way of understanding at least the most central customer experiences would be to recognize them and to understand what is happening in them.
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