From the Ground Up by Sam Whyman

From the Ground Up With decreasing budgets and increased corporate wealth, how will the world’s space agencies continue to push the boundaries of the final frontier, and where do the brands come in? In the 1960s, the space race between the United States and the Soviet Union was at the forefront of the world’s thoughts, with mass media coverage of hero astronauts achieving scientific breakthroughs, resulting in perhaps human kind’s greatest achievement; man on the moon. A Cold War propaganda event displaying finally that the Americans were better than the Russians were, they must have been, they proved it on TV (Hoffman, 1970). The brands behind these feats were not commercial companies but international agencies, backed by government funding. The North American Space Agency went on to become one of the world’s most recognisable brands launching the Space Shuttles amongst other manned space flights (CCSA, 2004).

“It shows that a great national moment like the moon landing can also bring divergent poles of the public together.” (Hoffman, 1970)

However, from the heady heights of 4.41% of the total federal budget in 1966, gradually, NASA’s budget, along with its trademark manned missions, has fallen, over the years, to just 0.48% of the total feral budget in 2012 (Rogers, 2010). In wartime, scientific progress is made in leaps and bounds, compared to times of peace. Without a race into the stars between two nations, what is the future of space travel?

2013). This, along with the necessary technological advancements, has led to an increase of privately held aerospace companies; such as SpaceX, founded by PayPal co-founder Elon Musk (SpaceX, 2013), Blue Origin, founded by Amazon.com’s creator Jeff Bezos (Klotz, 2013) and Virgin Galactic, held by Richard Branson’s Virgin Group (Virgin Galactic, 2014). Continuing their 50-year partnership with NASA, Boeing and Sierra Nevada, as well as these newer commercial entities are attempting their fill the gap left in delivering crew and cargo into low earth orbit within the next 20 years (NASA, 2011). Between 2013-2022 the Federal Aviation Administration (FAA) estimate that there will be deliveries to the ISS, along with almost 60% of the 128 nongeostationary satellite launches, being managed by commercial industries (FAA’s Office of Commercial Space Transportation, 2013). Whether it is to the ISS delivering supplies or a tourism experience, it is forecast that the number of low earth and sub-orbital commercial flights are upcoming resulting in a $1.26b market (Futron, 2006).

In 1984, the Raegan administration directed NASA to begin construction of an International Space Station (ISS).Beginning in 1998 and spanning 30 missions, astronaut Bill Shepherd and cosmonauts Yuri Gidzenko and Sergei Krikalev, the first residents arrived in October 2000 and stayed for four months; former enemies became interstellar roommates. Ever since, vessels such as the Space Shuttle have delivered people, supplies and even additional modules and laboratories to the station, enabling continuous scientific development (CASIS, 2014). With the Space Shuttle’s retirement in 2011, the only remaining spacecraft that could reach and dock to the ISS were the two Russian Soyuz derived designs that carried astronauts and their supplies (Petty & Dunbar, 2010). In the meantime, NASA are developing Orion, the first manned space craft designed by the agency in 50 years (NASA, 2013). Concurrently, the world is becoming wealthier, with the number of the world’s billionaires is increasing from 613 in 2000 to 1011 in 2010 (Shorrocks, et al.,

“ Planetary exploration not only brings us astonishing discoveries from other worlds, it inherently leads to innovation, because we invest in solving problems which have never been solved before.” (Nye, 2013)

The Ultimate Joyride Virgin Galactic differs from SpaceX and Blue Origin by focussing their offering on a five-minute weightless tourist experience in a reusable suborbital space plane. In early 2002, Richard Bransonâ&#x20AC;&#x2122;s Virgin group licenced the technology for Scaled Compositesâ&#x20AC;&#x2122; SpaceShip One and White Knight and by November 2004, the design had won Virgin Galactic the $10 m Ansari X Prize (Virgin, 2014). An expensive holiday, a carefully crafted image is required for customers to part with $200,000 per ticket. Therefore, Virgin are investing heavily in commercialisation of the project, commissioning Foster + Partners to design and build a incredible Space Port in New Mexico and research into the desired experience of the flight (Billings, 2006). Regardless of its expensive price tag, the brand needs to remain accessible. Instead of cost serving as an impenetrable barrier to a status symbol of a billionaires club, Virgin should use design, marketing, passengers and its sponsors to display its incredible technology acting to inspire, rather than eliminate. Even though only a select few will be able to experience Virgin Galactic first hand, due to the transparency of the world today, the total invested party is considerably large; the media, government, competitors, local communities etc. Through showing itself to have the intrepid explorer in us all at heart, the brandâ&#x20AC;&#x2122;s fragile social reputation can be maintained (Satterthwaite, 2010) and the higher the demand will be for the service in the future.

The Astro-environment & Space Junk

‘space junk’ left in orbit; specifically from the Swiss nano-satellite SwissCube (Siegel, 2012) . Breitling, the luxury watchmaker, is collaborating on the program as a main sponsor. Going beyond the mere geographic association between the two brands, Breitling align themselves with S3 due to the high technology, clean, precise and environmentally sound professionalism, emphasizing their authenticity (Beverland, 2009). The greater perceived bipartisan fit of their personalities allows for a greater chance for attributes to be transferred between them (Smith, 2004), Breitling’s heritage moving to S3 and S3’s modernity to Breitling, for example.

Risk to equipment and passengers is not the only danger, interesting dilemmas regarding the environmentally friendliness of the industry arise as popularity increase.

Perception of Safety Social Studies teacher Christina McAuliffe’s tragic death, along with her six fellow Space Shuttle Challenger astronauts in the 1986 disaster tragically skewed the American perception of the safety of space travel, negatively affecting the support for manned missions in favour of robotic replacements (Wright, 2007).

In the event of an accident early on in the development of the commercial market, not only the individual brands associated, but also the entire industry of commercial spaceflight may be at significant risk; therefore, safety is a prime concern. Relatively inexperienced teams and vehicles in hostile environments initially seem to be a dangerous combination. However, brands such as Boeing are cashing in on their existing brand heritage of aircraft and accompanying safety (NASA, 2011). Millions fly on a 747 without a moment’s hesitation, why not on their CST-100 capsule? Trust in the brand largely stems from its personality, defined by the customer’s reliance on the brand to perform promised tasks. Therefore, trustworthiness also relies on how experienced the brand is at the point of the customer engagement (Sung & Kim, 2010). A wide range of skills and knowledge, backed up convincingly, is the tactic being employed by SpaceX in lieu of decade’s worth of heritage. Regular videos serve not only to draw in new attention, but also to rapidly build trust, proving to the public that research and development is calculated, measured and under control.

With an estimated 1000 space flights taking place annually, ferrying approximately 13,000 passengers in the next decade, particulates and exhaust gasses become even more important (Futron, 2006). Black carbon is a by-product associated with rocket technology in low oxygen atmospheres, a substance that once in the atmosphere, acts as a potent greenhouse gas (Rosenblum, 2013). Brands in this area must be mindful of the sustainability of using rockets that expel this substance. Without the development of strict regulation regarding rocket technology with these specific missions in mind, the perception of a voyage of exploration may quickly deflate into a reckless joyride primarily for personal gain and a disregard for the environment, deterring the public and marring any associated brands. A well-crafted reputation built previously can be shattered almost instantly.

Without the sponsorship, Breitling are already a performance tiered brand on the Brand Dynamics Pyramid™ to many customers. The midway stage, at which point, due to high quality designs, the brand often on the consumer’s short list when considering new products. Their association with S3 may move them towards the top-tier ‘bonding’ stage, due to this alignment with the Swiss local ideals. This stage is where the customer rules out most other brands upfront, initially favouring a particular brand (Saviolo & Marazza, 2013). Roy & Cornwell described sponsorship of an event or program as allowing the opportunity to differentiate brands and convey strong branding messages (Roy & Cornwell 1999 cited in Alexander, 2009). New methods of collaboration with NASA is a radical shift away from the partnering of yesteryear, encouraging competition and therefore innovation (Anderson, 2013). Providing a reasonable fit between sponsors, both brands will be able to go beyond this and mutually define eachother (Alexander, 2009), creating magnetic brands with higher symbolic value to the consumer (Saviolo & Marazza, 2013). and therefore innovation (Anderson, 2013).

Debris left by spent rockets and damaged satellites is another growing concern, with 8,500 objects in Low Earth Orbit posing a threat to satellites and spacecraft (United Nations, 1999). In 2009, two satellites collided, resulted in an additional 2000 pieces of debris, regularly posing a risk for satellites in its range. The European Space Agency (ESA) state that the only way to reduce the present critical density of space debris to a sustainable level is through active intervention (European Space Agency, 2013). Swiss space systems (S3) are among the first companies to design and build a project to clear

Influence on STEM Education Science, Technology, Engineering & Maths job roles rely on students being involved from as early an age as possible.

Thanks to the widespread media coverage and social engagement with the space race in the 1950s and 60s, a generation of Americans were inspired to take part in higher science, technology, engineering and mathematics (STEM) education. Now, half a century later, US students are ranked 22nd and 31st in science and mathematics, respectively, compared to students from Liechtenstein, Slovenia, Estonia, and Hungary, among others (Burke & McNeill, 2011). To make best use of the opportunity at hand for commercial business ventures into space, high quality engineers, and therefore students, are required. To invigorate students, especially at younger ages, companies are desperately vying for the attention of children as young as 10 years old. SpaceX, for example, are actively trying to make the aerospace industry cool (NASA, 2011). Using high quality videos on all aspects of the business, paired with exciting graphics and music, they are attempting to do what Silicon Valley did for being nerdy and capture the imaginations of future engineers and designers as soon possible.

Overleaf: Carl Sagenâ&#x20AC;&#x2122;s philosophical analysis on viewing Earth photographed by Voyager 1 from beyond the orbit of Neptune.Pale Blue Dot (Sagan, 1994) Image Background: Carinae Nebula (Gendler, 2011) 8

Vivid imagery of space, though perhaps deeply complex, is able to captivate the minds of people. Photographs from the Hubble Space Telescope are as popular now as ever. Thanks to technological developments, students are able to have more hands-on experience with working on such space projects. The non-profit organisation Quest for Stars is enabling students to take photographs from the edge of space with selfassembled high-altitude balloons (Space.com, 2011). Engaging schoolchildren in the project allows first-hand knowledge and excitement for the space industry as well as those surrounding it. Gwynne Shotwell, from SpaceX has described students that have participated in the Design.Build.Fly national competition (or that have first-hand experience) as being some of the best future employees for the company due to their tacit knowledge of the projects involved (NASA, 2011). In not only the United States but also globally, students of all ages should be exposed to these kinds of projects. Moving past the mere education style of admiring the heavens, in the style of Carl Sagen or Brian Cox, students should and will have access to small devices, available off the shelf, to allow hands on learning. Featuring minimal financial input and with a thriving online community projects such as Dave Akerman’s spacefaring Raspberry-Pi enabled balloons (Raspberry Pi Foundation, 2013) are a fantastic example of using readily available resources to capture stunning images able to fascinate anyone, inviting them into further STEM education. Celebrating a home-brewed nature of these projects in the classroom has the opportunity to rectify the problems faced with STEM learning today. Should commercial space companies back this movement in its early stages, they too can nurture young minds as well as push technical boundaries.

Recent Successes in Engagement by Explorers and Astronauts Appealing to students and younger generations is only half of the problem; much of the public are relatively unaware of current and future space missions. Recent key events may serve to influence future missions. The Red Bull Stratos mission is a brilliant example of commercial ventures into the upper atmosphere. The closest mass media event that Generation X and the Millennial Generation have to the moon landing, as well as a hugely successful advertising campaign, have Red Bull inadvertently re-kindled a love affair between the younger generations and space travel? Looking for any means to capture the public’s interest; whether it be death-defying stunts, record breaking bravery (along with the extreme characters who set the original records) or scientific excellence, the mission garnered the attention of a huge demographic; many of whom would not ordinarily be interested in the brand. Compared to the routine ISS maintenance tasks live-streamed by NASA (NASA, 2014), an engaging story behind each of these methods made it very easy for the public to get behind the mission. The backbone of the campaign, the narrative enables the consumer to be part of the brand by following each stage of the mission closer than ever possible beforehand.

“ My biggest inspiration was seeing somebody walk on the moon. We need to create that next environment to really energise the next generation of aerospace engineers.” Peter McGrath, Boeing (NASA,2011)

Through a wide range of high quality content, all easily shared, introducing people to other areas of the brand as well as learning more about Stratos (Warren-Payne, 2012). Over a year since the broadcast of the mission, live over the internet, with 52 million views (Zmuda, 2013); Felix Baumgartner and the team are still commanding headlines as a full feature length film, documenting the process from the ground up is to be released (Red Bull, 2014). Following the ‘Create Once, Publish Everywhere’ method (Warren-Payne, 2012), Red Bull an increase of 13% in product sales in the year following the launch (Zmuda, 2013). If this is possible for a 26-year-old energy drinks brand, what can this kind of brand strategy do for education and space?

Despite two successful International space station visits and being the first Canadian to embark on a spacewalk (Canadian Space Agency, 2013), Chris Hadfield did not attract much in the way of public attention. However, during his latest and final mission, he took full control of both social media as well as the International Space Station.

“Alone in a 1-person spaceship, just holding on with my 1 hand, with the bottomless black universe on my left and the world pouring by in technicolor on my right. I highly recommend it.” (Chris Hadfield, 2012)

“I was honestly hoping to draw in a group of people and share my excitement of space with people who maybe hadn’t thought about it before,” (Karen Nyberg, 2013)

Hadfield’s online presence has revolutionised marketing of missions aboard the International Space Station

Celebrity Astronauts Sharing breath-taking images from orbit via twitter, answering highschool student’s physics questions using YouTube and drawing in over 7,500 comments on his Reddit ‘Ask Me Anything’ thread has led to Forbes magazine calling Hadfield “the most social media savvy astronaut ever” (Potter, 2013). Doing so has made him the most recognisable astronaut since Neil Armstrong. Following a simple goal of wanting to share just how cool space is in the most understandable manor, using vivid storytelling, Hadfield is the spokesperson that NASA has needed, able to achieve exactly what Red Bull, SpaceX and Virgin are aiming for with regard for gaining respect but with significantly slimmer marketing budget. Another interstellar social media user is Karen Nyberg. Once the preserve of governmental broadcasts, Nyberg took sharing the experience of space travel to more terrestrial means. The American Astronaut, aboard the ISS, was able to share her personal experience of the mission via Pinterest, the social network that ‘women dominate’ (Gray, 2012)’. By sharing her crafts completed whilst aboard, as well as spectacular views, casual users of the network were able to experience space travel for themselves in a small way (Granshaw, 2013).

What each of these examples show is the power that storytelling and brand experience, regardless of whether it fulfils any direct needs, has to engross a range of people; people who ordinarily would not have showed much interest in the missions (Fransen, et al., 2013). Celebrating a non-corporate vision in favour of an adoring artisan brings the individual into the lives, worlds and personal brands of Nyberg and Hadfield, contributing significantly to rich history of the ISS program (Beverland, 2009). Showing convincing passion for the subject, spectacular views and daring bravery are only part of the mix, clarity of this story telling is also crucial. In this sense, clarity has taking the form of ease of access to these narratives. Social media has played a huge role in the accessibility of missions, and will be vital to the successes of future commercial space travel. Brands are urged to target their communications towards the transparent agile, interconnected internet to build reputation by monitoring and engaging with the consumer (Satterthwaite, 2010). Going forward, any astronaut, cosmonaut or mission specialist on the ground should be encouraged to share their work experience, and with the added might of commercial companies and potentially larger marketing budgets, this future is a likely one. Personal experiences of the first space tourists or tracking a school class’s progress of their prototype weather balloon in collaboration with SpaceX, Blue Origin or Virgin Galactic for example will be commonplace and a vital part of the acceptance of commercial space.

“Space is the best place to inspire children to do great things, study hard and change the world” Gwynne Shotwell, SpaceX (NASA, 2011)

A Bright Future The public’s appreciation of space is still as strong as ever. The enduring popularity of the Hubble telescope’s images is an example of this. However, without the appeal of an approachable figurehead such as Baumgartner, Hadfield or Nyberg and a convincing story to tell, the public cannot approach the initially daunting subject. However, taking corporate sponsorship as a successful model, the commercial space industry can garner larger budgets through sponsorship, allowing the development of large scale social and traditional media outlets that have proven to be successful in the past with other missions. Businesses taking the sponsorship risk now, rather than later, will stand to profit most in the future. Red Bull, a prime example, years after the initial eight-minute descent, are able to command headlines with original content, appealing to more people each time. Expansion and development into new frontiers eventually leads to infrastructures and settlements; infrastructures and settlements capitalized by commerce. In the same way the Americas were developed with highways put in place where people didn’t even live yet, with the confidence that they soon would (Clinton, 2007), it is up to commercial enterprises to take the business opportunities in routine duties, leaving NASA and other global organisations to further push the boundaries of the stellar frontier. With this, commercial spaceflight will inevitably, over the next 5, 10, 15 years, will continue along its current trajectory. Providing the interest in tourism remains strong, publically shared technological validation diminishes risk to passenger, environment and better use of accessible marketing reaches the widest possible audience, the visions of CEOs, and market valuations in the billions will come to fruition. Initially for the ultra-wealthy, space tourism will be a viable alternative to a luxury car, eventually decreasing prices will open up the stage for extreme tourists and the general public. Should any accident occur in the early stages, commercial spaceflight would remain valid, with NASA and industry remaining equal collaborators (Anderson, 2013). In this event, companies defaulting to satellite launches and further development ahead of re-opening the market for consumers once more. However, as proven by NASA, private companies, able to operate freely are largely more efficient than government at delivering fundamental services (NASA, 2011) and therefore the future looks bright.

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