Region Plus journal

ARCHITECTURE OF ATTRACTION

Nani Zhgenti, Baku

In an era where attention has become the most valuable currency, architecture ceases to be merely functional and aesthetic and turns into a media tool. Global competition for attention has transformed architecture from a “spatial discipline” into an instrument for generating emotional capital. Buildings are now required to operate not only in physical space, but also in the digital realm — to be ready for filming, discussion, and viral circulation.

Under these conditions, architectural design clearly requires a new strategy. This strategy can be called “architecture of attraction” — a concept in which a building is designed as a marketing and media asset. In other words, interest, emotion, and attention begin to work long before construction and commissioning.

This method is based on three interconnected elements: visual magnetism — silhouettes and viewpoints that are instantly recognizable and ready for viral distribution; emotional code — architectural dramaturgy that translates brand values into the language of space; and built-in marketing — scenarios for user-generated content and digital activations embedded at the design stage.

The Attention Economy and Architecture

Today, we live in a world where decisions about travel, bookings, and purchases are increasingly made “by the image” on social media. In such conditions, architecture stops being a purely spatial discipline. It becomes a producer of impressions, which are later converted into money and reputation.

Alongside classical metrics — engineering, functionality, composition — new ones emerge: image virality (VIR), content that spreads because users themselves voluntarily share it; user-generated content potential (UGC), created by ordinary people — clients, followers, fans; and emotional ROI — return on investment through experiences that stimulate repeat visits and recommendations. These are the emotions a project evokes in its audience, which later influence its financial success.

That is why architecture of attraction matters not only as an aesthetic idea, but also as a strategy for accelerated return on investment and brand growth.

 

How Does It Work?

The main feature is working ahead of time. In architecture and urban planning, there are already phenomena with similar effects, for example, the “Bilbao Effect” — a sharp increase in tourist and investment interest after the appearance of a landmark object. However, the key difference in the “architecture of attraction” is the time shift.

If the “Bilbao Effect” occurs after construction, when the object unexpectedly becomes iconic, the architecture of attraction starts working long before the physical realization.

Teasers, renders, AR (augmented reality) and VR (virtual reality) previews themselves become marketing tools. Guests dream of experiencing the space long before it opens, and this anticipation turns into capital.

In this strategy, architecture is designed as an integrated system: form is the frame, the route is the dramaturgy, and emotion is converted into sales. The mechanism can be described as follows.

 

Visual Magnetism

Architecture of attraction begins with a form that catches the eye. These are unique silhouettes that are easy to remember and look equally striking both from a drone’s perspective and up close. Light also plays an important role. Architecture seems to adapt to the perfect “wow moments”: sunsets, reflections in water, carefully planned lighting — everything that turns a building into a ready-made postcard.

Framing is equally important. Projects incorporate “Instagrammable” spots: frames, bridges, observation decks, suspended pathways. In these places, visitors instinctively take out their phones and snap a photo — the space literally suggests the shot.

 

Emotional Code

Architecture of attraction works not only on visual impressions but also on deeper associations. The space conveys the values of the brand — privacy, belonging, innovation, or authenticity — and resonates with the audience’s expectations.

The route inside the building is designed as a scenario: changes in rhythm and height, play of light and shadow, unexpected “reveal moments.” All of this creates dramaturgy that holds attention and increases engagement. Materials also play an important role: people want to run their hands over surfaces, feel textures, capture reflections or light effects on camera. Architecture becomes not just a visual, but a tactile emotion.

Built-in Marketing

In modern design, marketing is integrated directly into the architecture. Spaces and details are created to encourage guests to take photos.

Through a “hero shot,” the main visual image of the building can be captured — the angle that instantly communicates the concept and beauty of the architecture. This acts as a sort of “business card” of the project, becoming the primary frame for publications and promotions. In architecture of attraction, such points automatically turn guests into content creators, enhancing the media presence of the building. For example, the Burj Al Arab is almost always photographed from the angle where it looks most impressive.

Mirror surfaces, recognizable symbolic objects, interactive elements — all function as “content triggers.”

Next, a “content engine” is launched: even at the sales stage, selections of angles and hashtags are prepared, influencers are engaged, and conditions are created for organic posts by guests themselves.

The “online-offline” loop is also important. First, a person sees a teaser or ad, then books a trip, shares impressions on social media, and their posts become new advertising for the next wave of guests. In this way, the building functions as a marketing tool — promoting itself and boosting demand.

In summary: design as a reason for content, the guest as a media agent, social networks as a free promotion channel.

 

Saudi Arabia – A Unique Case

Today, the most striking examples of architecture of attraction can be seen in Saudi Arabia — a country that is investing heavily in tourism and collaborating with world-renowned architectural bureaus. Here are a few examples:

Sheybarah Island Resort (Killa Design): white biomorphic capsules resembling jellyfish, floating over a lagoon. Minimal advertising, yet tens of millions of views on TikTok and Instagram. Peak season occupancy is projected at 95%. The architecture became a viral phenomenon on its own.

Desert Rock Resort (Oppenheim Architecture): villas embedded in granite rocks. Few publications — nearly 10 million views. The strong contrast of “rock + light” became the main media hook.

Leyja (OMA, Killa Design, Mario Cucinella): three hotels, each with its own emotional scenario — calm, health, adventure. Construction hasn’t even begun yet, but concept videos are already garnering millions of views.

Trojena (Zaha Hadid Architects, et al.): a ski resort in the desert. Only teasers, yet around 150 million views. The architecture works like a fantasy people want to experience.

THE LINE (Morphosis + consortium): a 170-kilometer mirrored “skyscraper on its side.” Currently exists only in video, but has already collected over 500 million views. This is no longer just a project — it is a global media event.

 

The Economics of Architecture of Attraction

A comparison of premium hotels in Saudi Arabia shows that integrating marketing into architecture reduces project payback periods by at least 18–24 months. Tourist flow in the first year increases by 25–30% instead of the usual 8–10%.

Organic reach on social media is 5–6 times higher. Advertising budgets are saved by millions of dollars.

Thus, today architecture becomes not an expense but a strategic asset: it sells itself, builds reputation, increases investor confidence, and brings along a portfolio of future projects.

The chain looks like this: idea → anticipation → visit → organic reach → new demand.

Prospects

Architecture designed according to the attraction strategy goes beyond the physical world. AR masks, digital twins, and previews allow earning even before construction begins.

NFT tickets (digital tickets) and presale tours open new revenue streams. Post-visit digital souvenirs create reasons to return and share.

In other words, buildings become media platforms that generate revenue and hold attention on their own.

Therefore, architecture of attraction is not a decorative trick, but a strategy for the era of attention. It combines aesthetics, marketing, and emotion, accelerates payback, and creates brands that stay in memory and on the screens of millions.

Perhaps most importantly, this approach changes the very profession of the architect. Today, the architect is not just a designer, but a strategic partner, a director of experiences, and a media producer.

 

Manifesto of the Architect of Attraction

“Spaces should be designed so that people dream of entering them even before they appear on the map. Every form must tell a story, every route must direct emotion, and every guest must become the main character. Architecture is not just structures and square meters anymore — it is now a media platform that creates aesthetic, emotional, and economic value long before the first encounter with it.”