Cafeteria, bleachers, roof and meso favor collaborative work
The creativity industry is fertile ground for new companies. One of them is the Gallery. Conceived in the midst of the Covid-19 outbreak, the business is a response from the founding partners Eduardo Simon (CEO), Rafael Urenha (CCO), Paulo Ilha (CMO) and Pedro Cruz (CSO) to the market.
There is room for local and independent agencies capable of reacting quickly to changes, says Edu Simon. Creativity, media and planning put Brazilian advertising at an advantage. According to Simon, the quality of work falls into models that separate disciplines. In three years, agencies with innovative formats should share space with international groups in the ranking of the 20 agencies. It’ll be more or less fifty-fifty, Simon bets.
Graduates from DPZ&T, from the French group Publicis, the leaders of the Gallery felt uncomfortable with the impossibility of acting according to the speed of changes dictated by technology. From data and artificial intelligence to talent management, this dynamic stops when the main shareholders do not look at Brazil as a priority market, argues Simon.
But the Gallery did not turn a blind eye. It opened the operation with the endorsement of clients such as Ita, Natura and McDonalds, and today it transforms the market with 400 employees challenged to solve the brands’ problems. Cervejaria Colorado and the global account of Gallo olive oils are new achievements.
Values and affinities define the way in which customers become part of the Gallery. We are lucky to have clients who are committed to transformations with us, says business head Ana Coutinho, who has an all-female team. Half of the agency’s workforce (52%) is female. We have to push, inspire and give opportunity, emphasizes Ana.
Based on performance, the remuneration puts the client and the agency on the same side. We bring together all the disciplines of creativity to simplify brand communication, defines Simon. Endorsed by the one-stop-shop style, generalists manage these disciplines through hubs composed of specialized teams. One of them is Vitrine, for out-of-home media.
OOH still works with face scripts, which do not represent today, says Paulo Ilha, chief media officer of the Gallery. Trained professionals, proprietary tool, use of data for planning and measuring results guarantee the success of the operation, which honors the role of the outside media, providing services to cities.
Media decisions will increasingly be automated and algorithms will support decisions made by professionals. I see no other path for OOH, open TV and pay TV, other than the one already followed by programmatic media, believes Paulo Ilha. But preparation is lacking.
Resources exist, but are not being used. This is one of the reasons why we are very successful at the Gallery, compares Paulo Ilha. From this work model arise projects that are more talked about than many campaigns created by competitors for decades in the market.
The power of communication needs to be put at the service of society. But the idea has to be scalable. It’s no use finding a problem, from some far away country, doing a super legal business, but that nobody understands, and we are left without knowing if, in fact, it made a difference in people’s lives, comments CCO Rafael Urenha, who heads a team of approximately 90 people. people.
With the British driver Lewis Hamilton, Galeria placed Ita Personnalit in the poly position of conversations among Brazilians. The brand becomes useful due to the engagement with the pilot, who is a fan of one of the greatest idols in Brazil, Airton Senna. It can’t just be a speech, insists Urenha.
Instead of campaigns, creative solutions are based on multidimensional relationships. The reaction to a project becomes another communication, and conducting this orchestra is increasingly complex, observes Simon.
Music to the ears, the agency’s project progresses with mastery. And it attracts a new rhythm of work to the sound of talent that can now come from anywhere, and that see the office as a storehouse of ideas.
We are reaching a balance between physical and remote work, and between the different profiles of creatives. But the eye for the eye is irreplaceable. There’s a moment when magic happens, almost like a short circuit, and I haven’t seen this magic happen in videoconferences, says Urenha.
The flexible working environment inspires new generations. The office is no longer a place where people have to go, but a place where people want to go. You can’t have isolated stalls anymore, warns Simon.
Cafeteria, stands, external area with 300 meters created to encourage the sharing of ideas, roof with a table so that people can work outdoors and a counter that cuts through the entire branch respond to the mental model exposed by the Gallery.
