Chapter 01

THEORETICAL
FOUNDATIONS

Definitions, history, properties and functions of ambient media. Relation to OOH, guerrilla and viral marketing, legislation and ethics.

1.1

DEFINITIONS

// Unified definition

Ambient media are such media that are not primarily intended for communication but are used for it, or are primarily communicative media but are used in a non-standard way according to their primary function — all subject to the condition that the application of the message is not performed in a standard manner, bears signs of exceptional and creative execution, and is in most cases unknown to the target audience.

Non-standard medium Creative execution Exceptional quality OOH category
// Variant A

An ambient medium can be a medium that is primarily intended for communication, but is used in a non-standard or unconventional way.

// Variant B

An ambient medium can be a medium that is not primarily intended for communication, but is used for it.

"
A routine definition of ambient media does not exist. Ambient media are perceived very differently and each author approaches them in a different way.
Peter Fray, 2005
1.2

HISTORY

Prehistory
Origins of ambient communication
The first horse-drawn trams, not primarily intended for communication, began serving as carriers of advertising messages — early examples of the ambient approach.
1995–1997
Boom in the United Kingdom
London agency Concorde recorded 100% growth in ambient OOH formats. The term "ambient media" is officially used for the first time.
EURO 1996
Snickers / Mars — first major campaign
Three key stations of the London Underground (including Wembley) were entirely wrapped in green and the Snickers brand logo. Posters, walls, lights and rubbish bins.
2004
Czech Republic — Vodafone / Oskar
The Nusle Bridge in Prague was wrapped in red bubble foil as a demonstration of signal coverage. The campaign was recorded in the Czech Book of Records.
2008
Daniela Krautsack — the future of AM
"Ambient media will be part of future communication strategies and media plans, because the idea of reaching the customer in their 'third space' will not disappear."
// Czech Republic — breakthrough campaign
"I should have studied harder"
Campaign for skoly.cz by agency Underline: workers in busy areas of Prague wore T-shirts with the text "I should have studied harder". Cost: just a few thousand crowns for shirts and compensation.

Result: Server traffic increased by up to 500%. Spontaneous media coverage in local and national media.
Ambient media carry within them the seeds of their own destruction… Once the form of ambient media is copied and becomes commonplace, it ceases to be original.
The Guardian, August 1997
1.3

PROPERTIES —
THE 4I MODEL

Keswani and Ghatawat (2010) characterize ambient media through four key properties.

I
INNOVATION
Unlike the declining reach of traditional media, ambient media can trigger the so-called wow effect. They are an innovative communication tool that transcends the boundaries of established media.
I
INTELLIGENCE
Creative teams tend toward the idea that for a smarter audience, smarter messages are needed — ones that make people think and are more interesting to them.
I
INTEREST
Ambient media are able to generate interest in an audience, which is why people better remember the message, brand or product. Interest precedes conversion.
I
INTIMATION
Most ambient installations do not reveal comprehensive information about the product, but show only a part — and thereby provoke curiosity and the desire to find out more.
1.5

COMMUNICATION
EFFECTIVENESS

The three basic components of effective communication on which ambient media are built.

01
Identification / Recognition
The message must clearly express what or who stands behind it — through visual (graphic design), spatial (industrial design), audio (sound design) or even olfactory and tactile processing.
02
Memorability
The average person consciously registers 350–700 advertising messages per day (Worthington, 2014). The permanence of a message in the recipient's memory is critical — our brain processes a maximum of 40–50 bits per second.
03
Persuasiveness
"Persuasiveness determines what impact advertising may have on behavior. It focuses on whether the individual shows a response to the advertisement, not whether they remember it." (Du Plessis, 2007). Derived from both visual and content processing.
Persuasive ads should be
Witty Subtle yet attractive Concise Clever Radiant Colorful Unique Dramatic With good music Controversial

// According to Daniela Krautsack's research for ESOMAR, 2006

1.6

FUNCTIONS OF
AMBIENT MEDIA

Based on the functions of classic OOH advertising (Outdoor Advertising Association of America).

⚡
Amplification function
OOH media achieve one of the lowest CPMs and highest ROIs in advertising. They present ads that cannot be put aside, skipped or turned off — unlike TV spots.
🔗
Connection function
OOH media stimulate online activities with greater effectiveness than other offline channels. They connect the physical and digital worlds, generating content for social networks.
🏙️
Environmental function
Messages reach recipients in the environment where they encounter them. They engage people in the places of their everyday movement — in transport, streets, shopping centers.
🏆
Brand building
OOH media are a brand-building tool comparable to TV advertising. They create strong visual associations and reinforce brand positioning in the mind of the recipient.
1.8 — 1.11

RELATION TO OTHER
DISCIPLINES

🎯
GUERRILLA MARKETING
Ambient media and guerrilla marketing share an emphasis on low cost and creativity. Guerrilla uses unexpected strategies for maximum effect with a minimum budget — AM are a natural carrier for these strategies.
🦠
VIRAL MARKETING
Ambient media have high viral potential. Original installations spontaneously generate content for social networks and media — the message spreads secondarily even without direct contact with the medium at the installation site.
📍
PRESENCE MARKETING
Presence marketing uses physical presence at the recipient's location and time. Ambient media are a natural part of this approach — they reach recipients in their natural environment, in the real context of their lives.
1.12 — 1.13

LEGISLATION
& ETHICS

⚖️
Legislative framework
The placement of ambient installations in public spaces is regulated by the public space administrator based on state legislation and local ordinances. Private spaces are subject to less restrictive limitations — installations can be realized faster, without lengthy negotiations with the city.
🧭
Ethical dimension
In addition to legal obligations, there are self-regulatory commitments aimed at ensuring that all marketing communication is ethical according to established standards. Ambient installations must be designed so that they do not endanger the health or property of recipients and have no negative impact on the surrounding fauna and flora.
More chapters: ← Overview Importance of Design → Principles → Categorization →