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A ravolution in Creative business strategy - Schemetter B.

Schemetter B. A ravolution in Creative business strategy - Wiley & sons , 2003. - 257 p.
ISBN 0-471-22917-2
Download (direct link): leaparevolutionIncreativeb2003.pdf
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In the process, he also employed a principle that is at the core of every great Creative Business Idea: He remained fiercely loyal to the brand history, the brand integrity, the brand essence. The Guggenheim’s mission statement, created in 1937, was “to engage people in art for the larger social good.” And with every move Krens made, he never strayed from that.
The Art of the Motorcycle installation view, 1998. Solomon R. Guggenheim Museum, New York
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The End of Advertising
.the Beginning of Something New
As of this writing, there are two Guggenheim museums in Las Vegas. In the meantime, the Soho Guggenheim has closed, and, following September 11, plans for a new Guggenheim near Wall Street are on hold. Will Krens have more successes? I expect so. More failures? Without doubt. Mistakes and failures mean that Krens is still engaging in great creative thinking.
Before You Leap: There is one final lesson to be learned from Thomas Krens: Don’t give up.When Krens was being denounced by others in his industry and accused of turning the Guggenheim into “the Nike or Gap of the art world,”7 he never wavered in his vision and his conviction. He exhibited the level of strong leadership that is integral to all Creative Business Ideas.You have to be bold.You have to take risks. It takes courage.
You Never Know Who's Watching ...
Thomas Krens’s expansion plans were being covered extensively by the press the world over. Little did he know that they were also being followed closely by an advertising executive in the city ofBuenos Aires, Argentina.
When Jorge Heymann opened his own advertising agency in January 1999, he was a seasoned veteran of the business. But running his own agency gave him the chance to do something of which he had always dreamed: to create not just advertising, but communications.8
About 10 years ago, one of the things that I began to notice when I went to Cannes—where you have the opportunity to see ads from all over the world—was the exceptional creative work coming out of Latin and South America, Brazil in particular. When I became CEO of Euro RSCG and started traveling more, I became aware of Argentina’s work as well.
The Latin countries, I saw, represented a very interesting marketplace. A lot of creative thinkers are there. In part, it must be because many of them were trained in U.S. advertising; they studied all that great advertising from the 1960s and 1970s. But the innate creativity of Latin cultures also plays a role—there’s a great emphasis on and appreciation for thinking that is both left brain and right
You Never Know Who's Watching ... 149
brain. The end of the twentieth century also saw lots of deregulation and explosive media growth in the region, which meant more advertising, more creative thinking. And as opposed to being U.S.-centric, they had the advantage of European influence. I think they were able to take all of that in, absorb it, and then develop their own creative approach.
Eduardo Plana, our CEO for Latin America, introduced me to some agencies he thought we might want to acquire. And he told me that if I wanted to see firsthand the latest creative thinking that was going on there, I should meet Jorge Heymann. As it happened, we met in my New York office.
When I shared with him my thoughts that creativity was going way beyond advertising, his eyes lit up. He said, “Let me tell you a story." The Inspiration
Heymann had been inspired, some 15 years earlier, by the work of design firm Pentagram. Intrigued by that firm’s creative approach to communications, he went to visit its creative team in London.
“There were five partners: three graphic designers, one industrial designer, and one architect,” Heymann recalls. What he admired was the team’s total approach to the design process: “For instance, for the Reuters headquarters in London, they had designed everything: from the building to the logo to the look of the lobby, right down to the ashtrays.”
His second source of inspiration was Bilbao. He was fascinated by what the Basque authorities in Bilbao had done: the way they had attracted people to the city not through mass media, a huge promotional campaign, or traditional forms of communication and advertising, but through the use of architecture.
Build Me an Ad Campaign
Jorge Heymann was determined to do the same for his clients: to create communications that went far beyond advertising. In the late
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The End of Advertising
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1990s, he got his chance. It all started with a seemingly straightforward request from a former client, who needed an ad campaign to promote a new riverfront real estate development in Buenos Aires. Covering a seven-block area, the complex included a Hilton hotel— the first in Argentina after years of failed attempts—a convention center, an apartment building, three office buildings, a mall with an 18-theater Cineplex, the first IMAX cinema in Argentina, a sea museum, recreational areas, and a 700-meter-long pedestrian street for outdoor events. It would be more than a new neighborhood. It would be a city within a city.
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