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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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You Never Know Who's Watching
153
talked about the results, how millions ofvisitors now flock to Bilbao every year.
And then he gave his recommendation: Build a bridge at Puerto Madero.
Fortunately for Heymann, his client was a man of vision. He understood the idea, he had the ability to imagine what it would be like, and he had the foresight to see that it was a brilliant move. Hey-mann and his team had encouraged the CEO to let them help him make his product—his brand—more attractive and more successful. He agreed.
And the fact that the cost of the bridge would be 50 percent higher than the original advertising budget? The CEO not only had vision, he also had the ability to put things into perspective. Compared with the $180 million cost of the complex, a $6 million bridge was relatively insignificant.
The project was a go.
Be Crazy
So far, so good on the bridge plan. But it’s never quite that simple. In the case of Madero Este, while both agency and client understood the power of the CBI, others were not so sure. In the early stages, Heymann says, the press dismissed the idea, and many in the advertising industry thought it was a waste of time and resources. Besides, how is an agency compensated for helping to build a bridge? There were even those who thought the CEO was crazy, which earned him the nickname “El Loco.”
Puerto Madero Buenos Aires
154
The End of Advertising
.the Beginning of Something New
The local architectural firm that had been contracted to build the entire complex drew the initial designs for the bridge. But there was a problem. As Heymann puts it, the designs were “pretty common. It was a commodity bridge.” His new objective was to cancel the contract with the local firm and call for an international competition of well-known architects.
But this was not Bilbao. It was Buenos Aires. And that’s not the way things were done in Argentina. It was uncommon to go outside the country for creative talent—what would be the need? But Hey-mann stood his ground, and eventually he was able to secure one ofthe most important architects in the world today, Santiago Calatrava—the same architect who had designed the spectacular footbridge in Bilbao. It would be the first Calatrava structure in all of South America.
As Heymann explains it, “What we proposed to Calatrava was how we would build a new landmark to symbolize the new Buenos Aires. An icon which would become a symbol ofthe rebirth ofBuenos Aires, a symbol of the city’s potential for the future.” Heymann and his team played an active role throughout the design process. “We acted as the intermediary between the client and the architect, on the client’s behalf. Partially because we didn’t want to scare them with the lack of processes in our country!” The team even carried the client’s business card with their names on it. “For all practical purposes, we were acting as the client,” says Heymann.
That’s true partnership. Based on an enormous level of trust and respect.
Be Inspired
The outcome? A stunning work of architecture. “Hilton is very excited about the idea of having a major city landmark so close to the hotel,” says Heymann. “The different presidents of the country have all been tremendously excited about the idea. And the press coverage has been unprecedented. We could never buy that kind of publicity.”
In some ways, Heymann was lucky. His client welcomed creativity. The client also had the vision to realize that spending $6 mil-
Hero Puch Power XL
155
lion on a stunning bridge as opposed to $4 million on an ad campaign was no contest. But Heymann’s idea was also brilliant. And modest. “It’s an inspiring case, though not the first. The work of Pentagram inspired me 15 years ago, then the work being done in Bilbao. We are all human beings, inspired by the experiences of our fellow humans.”
In any business, that’s a good thing.
Hero Puch Power XL
When was the last time you were on a moped? If you live in the United States, chances are you have never even grazed the seat of one of these zippy two-wheelers. Despite the fact that Harley-Davidson was making mopeds in this country nearly 100 years ago, the moped fad of the 1980s quickly ran out of gas.9
But if you’ve spent much time in any of India’s major cities, the evidence is everywhere: Mopeds are big business.
Mopeds in India have traditionally been used as personal transport vehicles. They’ve been popular with women, because they’re light and easy to handle. They’ve also been popular among those men who couldn’t afford the more expensive motorcycles. The selling proposition? For not too much money, you get your own set of wheels. Mopeds are inexpensive to own, inexpensive to maintain.
Then along came another zippy little two-wheeler that threatened to undermine the selling proposition of the moped . . . the scooter.
At first, the higher cost of scooters kept them a safe distance away.
Desirable to the traditional moped owner? Yes. Affordable? No. But as prices gradually came down to the level of mopeds, those traditional moped owners began migrating to the newer, sleeker scooters and scooterettes. And the moped market started to sputter.
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