1.0 – INTRODUCTION 1.1 –INTRODUCTION The chapter provides a radius of the background of study at hand into deducing the problems or issues that encompass it. Next to that, will be a statement of the aim as well as the objectives of this study in order to comprehend the matter in more depth as well as a succinct overview of the following chapters. 1.2 – BACKGROUND OF STUDY Human civilization is dependent upon signs and systems of signs, and the human sign is inseparable from the functioning-if indeed mentality is not to be identified with such functioning (Morris, 1938). A brand instead, is a promise of satisfaction. It is a sign as well nevertheless, a metaphor operating as an unwritten contract between a manufacturer and a consumer, a seller and a buyer, a performer and an audience, an environment and those who inhabit it, and event and those who experience it (Healey, 2008). Even so, too often companies think of the brand experience in silos: as an identity, logo, website, advertisement, and so on. To be successful, a brand had to be experienced whole – emotionally and tangibly – telling a consistent and engaging story at every tower point along the way (Astorino, 2011). A successful brand positively and clearly distinguishes a company’s products and services from those of its competitors. Statistics confirm that higher quality brands gain greater market share and profitability than their inferior competition (MacDonald, 2012). As the economy of late capitalism shifted from production to consumption, the economic expectation that were placed on architecture changed with it. Since the emphasis on architecture as a means of increasing production efficiency declined, increasing pressure was placed on architecture to perform as a marketable commodity; and as competition in the building industry due to improved methods of mass production, architecture became more and