Roppongi Hills: City Within a City

Anita  Elberse; Andrei  Hagiu; Masako  Egawa

Case | HBS Case Collection | January 2007 (Revised October 2011)

Roppongi Hills: City Within a City

by Anita Elberse, Andrei Hagiu and Masako Egawa

Abstract

Minoru Mori is the CEO of Mori Building, which has built Roppongi Hills, an ambitious large-scale, mixed-use development in Tokyo, Japan that includes high-end retail, restaurants, hotel, office, library, and art museum. A destination site for tourists and local people, the performance of the development was strong, with the exception of the art museum, which posted losses. Also, the branding efforts by Mori were at odds with other tenants and he needed to manage "the town.” Lastly, another competing development was in the works just blocks away, and Mori needed to determine how to address this new competitor.

Keywords: Buildings and Facilities; Development Economics; Brands and Branding; Urban Development; Competition; Real Estate Industry; Tokyo;

Format: Print

24 pages

Educators Purchase

Citation:

Elberse, Anita, Andrei Hagiu, and Masako Egawa. "Roppongi Hills: City Within a City." Harvard Business School Case 707-431, January 2007. (Revised October 2011.)

“Our goal is to be the kind of start-up that would terrify Nike—if Nike didn’t already own us.” Ron Faris, general manager of S23NYC, a Manhattan-based digital studio owned by sports apparel giant Nike, is on the phone with Adam Sussman, Nike’s chief digital officer. It is June 1, 2018. Two years earlier, Sussman was behind Nike’s push to acquire Virgin Mega, a startup comprised of Faris and his small team, which has since morphed into a studio that plays a pivotal role in Nike’s digital strategy. With the studio’s mobile app, SNKRS (pronounced ‘sneakers’), specifically, Nike seeks to strengthen its connection with the most fanatical of its fans—the sneakerheads—and “bring back the fun and emotion of buying,” as Sussman put it. Is Nike on the right path with its digital strategy and, in particular, with how it seeks to change the sneakers game and compete with rivals such as Adidas and Puma? Does it make sense for the company to pursue the kinds of innovations featured in the SNKRS app? And what kind of campaigns and activations should it prioritize in the future?

World Wrestling Entertainment, Inc. (WWE) develops and presents scripted hero-versus-villain storylines featuring its wrestlers at hundreds of live events, on several weekly television shows, on its own over-the-top streaming service, and on social media, to millions of fans around the globe. In January 2018, buoyed by the $800-million-dollar company’s strong prospects for further growth, WWE’s chief brand officer Stephanie McMahon and her husband, Paul ‘Triple H’ Levesque, a WWE wrestler who also serves as the company’s executive vice president of talent, live events, and creative, are discussing whether to add Ronda Rousey, who has made a name for herself as a judoka at the Olympics and as a mixed martial artist in the Ultimate Fighting Championship (UFC), to WWE’s roster. Should WWE try to sign Rousey, and, if so, what kind of offer makes the most sense? And is WWE well positioned for further success in the world of entertainment?

In March 2017, Jason Blum, the founder and chief executive officer of film and television production company Blumhouse Productions, has another blockbuster on his hands with the movie Get Out, produced for just $4.5 million. Remarkable returns for its micro-budget films were nothing new for Blumhouse. In fact, in recent years, Blum and his team were responsible for more such outsized successes than any other producer, especially in the horror genre. The company’s approach to moviemaking is quite different from that of the major studios: it is not afraid to bet on projects that other studios have passed on, it pays its key cast and crew members the minimum salary stipulated by industry unions and only pays out sizeable bonuses if a movie’s box-office reaches certain levels, it gives its directors a great deal of creative control, and it decides on a film’s release strategy only once the first cut is ready. Has Blum discovered a robust formula for success in the film business? And is his approach sustainable, even as other players in Hollywood might seek to copy Blumhouse’s strategy?

Faculty & Research

Roppongi Hills: City Within a City

Abstract

Citation:

About the Author

More from the Author