What real estate & marketing have to do with love.
How a simple building becomes a property with identification potential.
A property is a property is a property
Here, of course, we remember an American woman who shared her poem "Sacred Emily" with the world around 1947. A poem from which we know only one line, but many of us do: "A rose is a rose is a rose."
If you don't know that line, you might know this one: "It is what it is." Austria, Erich Fried, 1983. it's about love. Of course it is.
But what does that have to do with real estate or any other property? After all, experts in real estate and property marketing are writing here about concrete, not poetry.
Love. - Of course. - Now, if you don't believe that love is extremely concrete, even in marketing, you can substitute "love." With the jargon of the marketing machine, which cools "love" to: Identity. Means different, means the same. You only identify with your car if you love it. With your family - if you love them. With your life - if you love it. And so on and so forth.
But how do you come to love an object? Broken down, there are three possibilities.
You got the object as a gift.
You have a soft spot for this kind of object.
The object is part of a story you care about.
Because if a rose is a rose and only a rose? If you don't care about roses, you don't care much. But if you're head over heels in love, and he or she gives you one of these things, "Mmmmm!" You love that thing. Or also: If you don't care about roses, you walk through a wonderful landscape, get lost, search, keep searching, hopeless, panic ... and suddenly: "Wait a minute! These roses here, I've seen them before!" You love these things.
The moral of the story? There's two of them.
- "A rose is a rose is a rose" becomes "This rose is this rose is this rose in both of our stories here." Because while you generally don't give a damn about roses. This one here, from her or him, or this one here by the wayside: they are very definite roses. Because they mean something very specific to you.
And there we are already at moral two: meaning.
- "This rose is a rose, but it is at the same time the deep and warm gesture of my beloved. Or it is at the same time the relieving help on my lost way back home."
So it is both a rose and it also means something very specific to me, something other than " rose". Well, and for that meaning I love her. No matter how much I don't care for roses.
In short: This rose is part of a, part of your(!) story. And it remains part of your story as long as this story wants to keep itself upright in your memory. As long as this story means something to you.
Test? - Okay. - Let's not let our two stories, the one with the sweetheart and the one about getting lost, end the way we know it from Disney movies. Your love leaves you. No happy ending. Then the rose becomes big crap. The radiance of its former meaning - love - suffocates in the shadow of ruthless separation. The story doesn't just change. It ends. You want to forget her.
But let's make our poetic approach "hard fact."
You invest, build or buy a property, it is not to be an office building. It will be a public focal point and a private refuge. People are supposed to live upstairs, in apartments. Downstairs is to be heavy shopping, parking, 'n playground and 'n nice open space in front, with trees and "Have a seat."
The passion is great, the plan greater, only: "Now people have to buy the apartments. And in the shopping area below, everyone should also go there and consume vigorously."
What does not help now, we have already read: "The real estate is a real estate is a real estate." Because self-reference or back-reference - from real estate to real estate - lacks meaning. The thing is there, period.
So the first thing we have to create - if you don't want to give the real estate to a friend or speculate that enough objectophiles will come along, for whom your object is what sex is for other people? We need to take your object from the indefinite article (one) to the demonstrative pronoun (these). So we need to start becoming demonstrative. And here the marketing jargon speaks the same thing more warmly: "demonstrative" here means "memorable, expressive, interesting, ... vivid." And with these four synonyms for "demonstrative" we can also immediately describe what the strength of typenraum is. For we write here indeed to make a little understandable what it means: "To bring a property and an object into the market and into life." But we also want to show that we understand the process it takes to do this. That we are happy to help you and you to connect the still isolated object, the isolated property with market and live. - So let's take our four synonyms for the concept behind "demonstrative".
From our experience, from our research and tests - and without going into our work process specifically now - the development process of objects or properties looks like this:
- Starting point: an object, a property
- Transition point: this object, this property
- Goal: "My place of approach or refuge."
Between 0 and 1, meaning emerges; with 2, it becomes part of the personal story. The transitions provide our synonyms for demonstrative.
Speaking matter-of-factly: Something has been imprinted, with a mark. Whoever sees this mark has a marker in his brain. He can not only remember this mark. He can talk about it with others, that is, he can refer to it. If the mark is good, it is memorable.
This marker begins, of course, with the name of the object or property. The more memorable it is, the more strangely it is presented (literally: worthy of being remembered): the logo.
Expressive comes from the strong connection between the name and the logo. And from: "Is the relation of name, logo and of what both stand for right?"
In short: name and logo must fit together in the minds & hearts of as many people as possible. Better said: As few people as possible should be bothered by it or think: "Well, the thing is called X. But the logo is Y and what's happening there is Z."
Do all the components - what it's called, what it looks like, what it offers & does - fit together: Then we arouse interest. Interest because it flows and says and offers "what has been expressively impressed upon me."
Of course, this interest does not stand on the spot and waits for only the few who once passed by it to be interested, and then: Sleeping Beauty. The interest must also be awakened in the general public. It has to be awakened in the people who don't pass it by. This is where the marketing measures begin: from image flyers to scatter media to social media.
All well and good. But not the last word in solutions. Since we assume that the object or property is new - or at least restructured and reoriented, there's no story yet. No one has a history with the object, with the property yet. So there is no bond yet. No reason for attachment. People are still facing a thing - albeit a good and conclusive thing. Everything is still a matter of the head. Now we still have to bring the object and the real estate to life. Give it and it a heartbeat. One that may and can synchronize with the heart of people. So that they refer to "it": with each other.