MINI – Size



A MINI still has the public image of being a small car. MINI wanted to correct this misconception with the help of a guerrilla campaign that focused playfully on exactly that key asset of a MINI – its size. The goal of the campaign was to make the target audience realize that a MINI offers much more space than is commonly assumed. To “prove” this, the size of a MINI car was used in a witty and slightly exaggerated way: at several locations in a number of Swiss cities life-size front views of a MINI car were installed, complete with an open driver’s door. The locations chosen were entrances and exits of underpasses and escalators (leading, for example, to train stations) in areas frequented by many passers-by. Those passers-by who stood directly in front of this very life-like MINI duplicate got the impression that a host of people were getting in and out of that presumably so small car. This eye catcher with trompe-l’oeil effect was an effective way of getting people’s attention. In addition, the typical MINI humor of this tongue-in cheek approach confirmed MINI’s status as a “cult” brand. Good for a golden lion for Best use of Ambient Media.


Advertising Agency: Jung von Matt, Zurich

Creative Directors: Alexander Jaggy/Michael Rottmann
Art Director: Hendrik Schweder
Art Director: David Hanselmann
Copywriters: Lars Haensell/Ole Kleinhans

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Lego (1981/2011) – Builders of Creativity

KIPPER

An extremely clever ad — one from your childhood. A slightly surreal look at all the things you can make out of a box a Lego. Narrated by Tommy Cooper, a battle ensues between a mouse which, when threatened by a cat, turns into a dog. The cat turns into a dragon and so on, to a submarine and a submarine-eating kipper. The submarine eventually morphs into an elephant, the mouse rebuilds and the elephant faints. Lego: It’s a new toy every day — just like that!
Agency: TBWA London
Creative: Mike Cozens; Graham Watson
Director: Ken Turner
Production: Clearwater Films
Producer: David Mitten
Director of Photography: Tom Harrison
Editor: Patrick Udale
Year: 1981
Grand Prix

FAMOUS CHILDREN
Lego representations of famous people: a dinosaur (Spielberg), a bed (Madonna), a football (Pele), windows (Bill Gates), a man levitating (David Copperfield), a broken man (Mike Tyson).
Agency: DM9 Publicidade
Creative Director: Nizan Guanaes
Copywriter: Nizan Guanaes
Production Company: Jodaf/Joao Daniel Film
Director: Joao Daniel Tikhmoiroff
Year: 1995
Gold Lion

BRAIN

Agency: JWT Publicidade
Creative Director: Anselmo Candido
Copywriter: Ricardo Adolfo
Art Director: Miguel Coimbra
Photographer: Chico Prata
Year: 1998
Bronze Lion

BOX
A group of officials arrive at the house of an ordinary boy to discover that he’s created something extraordinary, which he keeps in a box. All ideas start with imagination.
Agency: BBH
Creative Director: John Hegarty
Copywriter: Roger Beckett
Art Director: Andrew Smart
Photographer: Gorgeous Enterprises
Director: Frank Budgen
Year: 1999
Bronze Lion

SHELF

Headline: All toys, in one
Agency: DPZ Propaganda
Creative Director: Jose Zaragoza/Carlos Rocca
Copywriter: Giovana Madalosso
Art Director: Janaina Pergira
Photographer: Lucio Cunha
Year: 2002
Shortlist

WALL

Headline: The power of the brick
Agency: Lowe, New York
Creative Director: Gary Goldsmith/Dean Hacohen/Bruce Hopman
Art Director: Elizabeth Maertens
Year: 2002

ARROW/HAND

Headline: The most interactive toy.
Agency: DPZ, San Paulo
Creative Director: Carlos Silverio/Francesco Petit
Copywriter: Roberto Kilciauskas
Art Director: Fernanda Fajardo
Photographer: Marcel Vieira
Year: 2004
Shortlist

STREET BUILDING

Agency: Ogilvy & Mather Santiago
Creative Director: Cesar Agost Carreno
Copywriter: Felipe Manalich
Art Director: Sergio Iacobelli/Sebastian Alvarado
Photographer: Juab Carlos Sotello
Year: 2005
Grand Prix (Outdoor Lions)

PERISCOPE/CAT

Agency: FCB Johannesburg
Creative Director: Bret Morris
Copywriter: Lance Vinning
Art Director: Lance Vinning/Charles Foley
Photographer: Gerard Turnley
Year: 2006
Grand Prix (Press Lions)

FIRE STATION/HANGAR/TRAIN STATION

Agency: Saatchi & Saatchi Singapore
Creative Director: Andy Greenway
Copywriter: Stuart Harricks/Roger Makak
Art Director: Stuart Harricks
Photographer: Dean Zillwood/IDC
Year: 2006
Silver Lion for the campaign (Press)/Bronze Lion for the campaign (Outdoor)

BOX

Agency: Saatchi & Saatchi Singapore
Creative Director: Andy Greenway
Copywriter: Stuart Harricks/Roger Makak
Art Director: Stuart Harricks
Photographer: Sam & Boomerang
Year: 2006
Shortlist

COSTRUCTION SITE

Describe the communication goal
LEGO wanted their communication to focus more strongly on the core product: the basic blocks. And at the same time, they still wanted to inspire children of all ages and to stimulate creativity and innovation.
Innovative Media Strategy
Construction sites are normally very boring and makes the surroundings ugly. But by turning the containers placed there into giant LEGO blocks it gave consumers a surprise, making their everyday life a bit more colourful and creative. They could “play on” themselves and start imaging how to build on. As one consumer said: “I was just standing there, waiting for a giant boy to come and build”. The media became the talk of the town. Even the Mayor of Copenhagen was proud of what it did to the city and praised it in several newspapers and television.
Engaging Creativity
LEGO is known for stimulating creativity. Transforming containers on construction sites across the country into giant, colourful LEGO blocks confirmed this for the consumer. And with no logos it also became a pleasent surprise in their everyday life. Was it and ad or wasn’t it? Nobody doubted that LEGO was the brand behind it though.
Encompassing the Audience
By turning containers into outstanding giant LEGO blocks it gave consumers a big surprise, making their everyday life more colourful and creative. In several weeks, the LEGO blocks became the talk of the town.
Effectiveness
– Massive media coverage in more than 20 national newspapers and magazines, national television and radio
– City mayors praising the project
– Hundreds of thousands consumers travelling by the blocks led to maximum awareness on the communication goal.
Agency: ADVANCE, Copenhagen
Copywriter: Michael Pedersen
Art Director: Kenneth Opsund
Year: 2006
ShortlistCOSTRUCTION
Agency: IDB/FCB Santiago
Creative Director: Rodrigo Gomez/Michael Angel Cerdeira
Copywriter: Rodrigo Figueroa
Art Director: Michael Angel Cerdeira
Year: 2006
ShortlistBUILDERS OF TOMORROW
The image is a tribute to “Lunch atop a Skyscraper (New York Construction Workers Lunching on a Crossbeam)”, a photograph taken by Charles C. Ebbets on the 69th floor during construction of the GE Building at Rockefeller Center in 1932.
Agency: JUNG Von MATT, Hamburg

Creative Director: Arno Lindemann/Bernhard Lukas
Copywriter: Daniel Schaeferk
Art Director: Szymon Rose
Photographer: Achim Lippoth
Year: 2007
Gold LionPLANE/DINOSAUR/BOAT/TANK

Agency: Blattler Brunner, Pittsburg
Creative Director: Jay Giesen/Dave Kwasnick
Art Director: Derek Julin
Year: 2007

POLYPLAYPYLENE

Describe the objective of the promotion.
Like no other toy, LEGO is a symbol of fun and creativity. To mark the fiftieth birthday of LEGO in Germany, the idea was to rekindle media representatives’ and LEGO partners’ excitement for LEGO with a high-quality mailing.
Describe how the promotion developed from concept to implementation.
LEGO fan and designer Reginald Wagner conceived, designed and photographed his personal LEGO memories with a pinhole camera to keep them from fading. The book’s format is adapted from the form of an individual LEGO brick. The book cover and the flipside are made of real LEGO plates. Journalists were sent the book and could put their name on the cover and share their memories with the designer.
Explain why the method of promotion was most relevant to the product or service.
The title of the book POLYPLAYPYLENE means “plastic that has been played with often” and that’s precisely what this book is about. Endless imagination, an endless number of construction combinations and stories from the LEGO worlds: towns, castles and space.
Describe the success of the promotion with both client and consumer including some quantifiable results.
The first, exclusive edition is out of print; the feedback was overwhelming. A paperback edition of “Polyplaypylene” is currently in print for wider circulation.
Agency: Kolle Rebbe Werbeagentur GmbH/Korefe
Creative Director: Katrin Oeding
Copywriter: Alexander Barom
Art Director: Reginald Wagner
Photographer: Reginald Wargner
Year: 2007
Shortlist

CONTROL

Agency: Ogilvy & Mather Santiago
Executive Creative Director: Sebastian Alvarado/Nicolas Lopez
Creative Director: Felipe Manalich
Copywriter: Felipe Manalich
Art Director: Felipe Manalich/Sebastian Alvarado
Year: 2008
Shortlist (Press)/Shortlist (Outdoor)RUBIK’S CUBE/BRICK
Agency: JUNG Von MATT, Hamburg
Creative Director: Jan Rexhausen
Art Director: Keat Aun Tan
Photographer: Keat Aun Tan
Year: 2008
ShorlistWALL/TANK/ALI

Agency: JUNG Von MATT, Hamburg
Creative Director: Fabien Frese/Daniel Frericks/Gotz Ulmer
Copywriter: Sergio Penzo
Art Director: Andre Price
Photographer: Ragnar Schmuck
Year: 2009
ShorlistDRUG/SEX/VIOLENCE
Agency: Naga DDB/Rapp Malaysia
Creative Director: Alvin Teoh
Copywriter: Raymond Ng/Ted Lim
Art Director: Chow Kok Keong
Photographer: Chem Kim Mun (360 Degree Studio)
Year: 2009
ShorlistDRAGON/PIRATES/SPACESHIP
Headline: It start with a brick
Agency: Saatchi & Saatchi Singapore
Creative Director: Richard Copping/Andrew Pech
Copywriter: Andrew Pech
Art Director: Jon Loke/ichard Copping
Photographer: Teo Chai Guan
Year: 2009

CREATE THE IMPOSSIBLE

Agency: JUNG Von MATT, Hamburg
Creative Director: Thim Wagner/Daniel Frericks/Gotz Ulmer
Copywriter: Mathias Muller
Art Director: Damjan Pita/Alexander Musgens
Year: 2009

LEGO STAR WARS

Advertising School: Escola Cuca, Sao Paolo
Students: Diego Mourau/Gustavo Dorietto/Lucas Mohallem
Year: 2011

CATERPILLAR/MONSTER/WHALE


Agency: Ogilvy Malaysia
Executive Creative Director: Gavin Simpson/Robert Gaxiola
Creative Director: Eric Yeo
Copywriter: Greg Rawson/Ross Fowler
Art Director: David Stevanov
Year: 2011
Silver Lion for the campaign

ACCOUNTANT/ELECTRICIAN/ENGINEER

Agency: Serviceplan, Munich
Executive Creative Director:Matthias Harbeck
Creative Director: Alex Schill/Oliver Palmer
Copywriter: Frank Seiler
Art Director: Sandra Loibl/Julia Koch
Year: 2011
Bronze Lion for the campaign

SPACESHIP/BEETLE/DEEP OCEAN EXPLORER

Agency: Leo Burnett, Moscow
Creative Director: Mikhail Kudashkin
Art Director: Arina Avdeena
Copywriter: Rodrigo Linhaners
Year: 2011
Gold Lion for the campaign

BRICK THIEF

Agency: Pereira & O’Dell, San Francisco
Executive Creative Director: PJ Pereira
Creative Director: Kash Sree
Copywriter: Jaime Robinson
Art Director: Jason Apaliski
Production Company: Stimmung, Santa Monica
Director: Blue Source
Year: 2011
Shortlist

ARMCHAIR/CAR

Creatives: Jacques Denain, Nicolas Dumenil
Year: 2011

WORDS PUZZLE CAMPAIGN: CROCODILE/SPACESHIP/TRACTOR

Advertising Agency: TBWA, Costa Rica
Creative Director: Byron Balmaceda
Art Director: Gabriela Soto
Copywriter: Byron Balmaceda
Illustrator: Gabriela Soto
Year: 2011

BRICK Campaign

The ads appeared on four consecutive pages. LEGO is a company that has fostered imagination, invention and creativity for over 60 years. So it is unusual for these ads to feature only long copy with minimal imagery. However, upon reading each of these scenarios the ad comes to life in a way that is unique only to the reader and how they see these playtime scenarios in their mind’s eye. Typographic elements of kerning contrasted with tracking allow the reader to almost get lost in the copy selecting keywords for their imagination. The fourth ad in the series, “Yellow Brick” features a notepad with the tagline “Every LEGO brick tells a story. Build yours.”

Advertising Agency: Pereira & O’Dell, Brazil
Chief Creative Officer: PJ Pereira
Creative Director / Copywriter: Aricio Fortes
Creative Director / Art Director: Paulo Coelho
Account Executive: Lo Braz
Illustrator: Eduardo Gomes
Year: 2012


IKEA – The 3-D Cover

IKEA Germany transformed the two-dimensional IKEA catalogue in 2007 into a three-dimensional installation, creating an exact replica of the living room on the catalogue cover and taking it on tour to shopping malls in 24 German cities.
Mall shoppers were invited to have their photograph taken on the catalogue cover. Five days later they were able to visit their local IKEA store to pick up their personalised version of the catalogue featuring their own photograph.


Describe the objective of the promotion.
The IKEA catalogue is, next to the Bible and Harry Potter, the third most printed publication worldwide. Our objective was to advertise the new IKEA catalogue with an innovative promotion that involved a lot of people and boosted IKEA’s brand appeal. The motto for the promotion was “Fashion for your most beautiful home in the world.” This was the motto of the annual IKEA campaign in Germany for 2007.
Describe how the promotion developed from concept to implementation.
We transformed the two-dimensional IKEA catalogue cover into a three-dimensional installation by creating an exact replica of the living room on the catalogue cover. Our 3-D Cover went on tour throughout shopping malls in 24 German cities. Everyone had the opportunity to have their picture taken on our catalogue cover set. A few days later, participants in the photo shoot could go to IKEA and pick up a catalogue featuring themselves as the cover model! In this way, we made a lot of people a part of the new IKEA catalogue.
Explain why the method of promotion was most relevant to the product or service.
The promotion was held in shopping malls in downtown areas, and the personalized IKEA catalogue was handed out in IKEA stores five days later. We got customers personally involved in the brand, enticing them to come into the store and pick up their catalogue featuring themselves as the cover model.
Almost everyone has a regular IKEA catalogue in their apartment somewhere. But proud owners of an IKEA catalogue with themselves on the cover will pick it up more often, show it to other people, and get more IKEA inspiration for their own home.
Describe the success of the promotion with both client and consumer including some quantifiable results.
A total of 7,120 people had their pictures taken. 4.039 of them picked up their personalized catalogue at IKEA. That´s more than 56%! The promotion not only boosted IKEA’s image, but also increased traffic and sales in IKEA furniture stores!

Advertising Agency: Jung Von Matt
Creative Director: Tom Hauser/Soeren Porst/Bernhard Lukas/Arno Lindemann
Copywriter:Tom Hauser/Caroline Ellert
Art Director: Joanna Swistowski


13th Street – Last Call (The First Interactive Horror Film)




CASE STUDY
13TH STREET Last Call promotes itself as “The First Interactive horrible movie in theaters” released at April 2010. The viewers are able to communicate with virtual characters via mobile call to help them make a decision in order to escape from the horrible scenarios in real time. Viewer send their phone number for a database, system selects a phone number and phones viewer, then a dialogue between viewer and character take place. The answer are converted into commands and system plays corresponding scene. Although all the scenarios are pre-defined via a huge narrative database, the interactive narrative storyboard structure can offers several branches and different ending to make the user interaction flexibly and deeply into the storyboard. The director also built an interactive cinematic immersive environment called Blood Bath to recall and recover audiences’ memories of this horrible interactive film.

It is so exciting the virtual character gives you a call and said, “I got your number, next victim is you!” when you immersed in virtual cinematic scenarios, surrounded with real horrible object-based simulated environment and accompanied other screamed audiences. The strengths of 13TH STREET Last Call is that interactivity is applied and embedded in a really appropriate approach. Horrible movie is one of the suitable film genres for embedding interactivity as itself has strong explorative scenarios, curious character’s destiny, and staggered narrative structure. It is also quite effective to create artist effects for interactive cinematic immersive environment. Interactivity build the strong tie between audiences and film characters due to binding audiences decision and film characters’ destiny together. The audiences feel entirely being involved in the film as multiple viewers in the theatre can talk to the film characters directly and create a dynamic interactive film together. But the weaknesses of this movie is that it is hardly to control the dynamic interactive plot outcomes from multi-users. It may lead to user interactive frustration due to wrong decision, failure guidelines and unexpected results, but also the cinematic ending is hardly to pleased for everyone.


Describe the objective of the promotion.
The main objective was to attract a new audience for the 13TH STREET channel. Therefore we decided to create a completely new brand experience with a modern state-of-the-art take on the horror genre and position 13TH STREET as a cutting-edge and innovative channel for horror & crime.
The target audience: Young film lovers, horror and genre enthusisasts.
The user experienced horror like never before. By blending the characteristic gaming element of individual control with cinematic storytelling, the project bridges the gap between game and film and thus allows for a brand new entertainment experience.
Describe how the promotion developed from concept to implementation
Everybody knows the feeling of wanting to warn the victim in a horror film about the impending danger, but it’s impossible.
In horror movies evil spreads fear and terror. The viewer can merely sit and watch. This is how horror films had been working for almost a hundred years. It was about time to change that. We thought about enabling the viewer to contact the victim and help him – or her – to escape.
Therefore we developed a special software that allows for such a dialogue via voice recognition.
Describe the success of the promotion with both client and consumer including some quantifiable results
The film hit its target audience exactly – film lovers at cinemas and festivals.
Worldwide LAST CALL captured absolute attention aroused enthusiasm and effectively demonstrated the standards of 13TH STREET. This is evident in the media attention it generated:
– Articles in the largest national and international newspapers (e.g. BILD, DN)
– Features on tv and radio (e.g. BBC)
– Hundreds of articles in film magazines, forums and blogs
All this became immense value for PR and proved that 13TH STREET is the channel for thriller horror and crime.
Explain why the method of promotion was most relevant to the product or service
The film hit its target audience exactly – film lovers at cinemas and festivals.
Worldwide LAST CALL captured absolute attention and kicked off many discussions about the development of the genre. And of course about interactive storytelling in general.

Advertising Agency: Jung von Matt, Berlin
Executive Creative Director: Matthias Stiller
Executive Creative Director: Wolfgang Schneider
Creative Director: Andreas Henke
Creative Director: Christian Kroll
Creative Director: Peter Gocht
Art Director: Daniel Leverenz
Art Director: Marius Bell
Production Company: Film Deluxe GMBH
Director: Milo


Concerthall Dortmund – Concert Milk

WEBSITE: Concerthall Dortmund – Concert Milk

Brief Explanation:
Set deep in the heart of Germany’s Ruhr region, where hardly anyone is interested in classical music, the Dortmund Concert Hall has to offer something pretty unusual to attract new visitors. So we invented a completely new medium to make our classical music ‘tasty’ to people: milk. Since it has been scientifically proven, that classical music has a positive effect on cows’ milk yield, we played music from selected artists of the new season to them. Asa result, the cows produced the very first music worldwide for the taste buds. This special milk was then bottled directly on the farm.

Describe the brief from the client:
The new season at the Dortmund Concert Hall will start soon. We need a campaign that raises huge levels of awareness for our claim: experience music like never before. And of course – we have no money, so make it cheap.

Description of how you arrived at the final design:
The bottles we came up with say ‘milk’ and ‘music’ at the same time and their high class design supports the standards of the Dortmund Concert Hall. On the front a musical note serves as a label, while all information about the specific artist and the milk itself were placed on the back.

Indication of how successful the outcome was in the market:
The media reported on this widely. The Concert Milk was featured in blogs and news around the world. It inspired people who otherwise hardly encounter classical music, increased the subscriptions by 19% and theatre occupancy to 72%.

Advertising Agency: Jung Von Matt, Hamburg

Executive Creative Director: Sascha Hanke
Creative Director: Tobias Grimm, Jens Pfau, Jo Marie Farwick
Art Direction: Damjan Pita
Copywriter: Henning Robert, Jan-Hendrik Scholz
Graphic Design: Sven Gabriel, Christoph Maeder, Nicolas Schmidt-Fitzner
Director: Silvio Helbig, Johannes Bittel