Issue 2 | 2012 The magazine for logistics customers and decision makers Logistic Solutions for Stores and Webshop Bench. pressing ahead The fashion brand’s textiles and accessories can now also be ordered online. Fascinating Light Shows Special logistics S[quadrat] puts together gigantic display solutions for cities and stadiums. Design as Economic Driver What makes premium products so desir able? Cutting-edge technology, service and, increasingly, design. A glimpse into a world that is playing a growing role in the global economy. editorial contents The Roots carpet is a product at the intersection of fashion and product design. Matali Crasset for Nodus. Dear Readers, Beauty is in the eye of the beholder. This is particularly true when we consider the pref­ 22 erences of people in diff erent continents About Logwin and its with whom Logwin works on a daily basis. bacKgroUnD service offerings The world is now connected in real time, so some trends happen all over the world simulta­ S[quadrat] As an integrated logistics and neously. However, at the same time, as prosper­ Logwin delivers video screens to football service provider, Logwin develops ity increases, local tastes become increasingly 21 stadiums – special logistics on page 22 comprehensive solutions for diversifi ed. in dustry and commerce. With a This applies particularly to fashion and product design. The importance of design staff of approximately 5,700 in coUntrY profiLe as an economic factor across all business sectors is growing expo- 40 countries around the world, focUs nentially. This is because the more interchangeable goods are in terms of quality Logwin off ers contract logistics, 15 24 In search of the Aztecs and functionality, the more crucial for sales success are aesthetic eff ect and per­ French designer proJects international air and sea freight More than just tequila and mariachi music fect usability. as well as transportation solu­ Matali Crasset Bench. 27 newsfl ash tions for road and rail. Logwin’s Modern logistics enables consumers all over the world to be off ered the latest speaks about her homeland and pressing ahead Cargo scanners in Stuttgart for increased custo mised logistics solutions goods. In addition, the optimally organised supply chain also supports design­driven sources of inspiration on page 15 and Logwin delivers... security – Distribution for Ernsting’s help create sustainable growth companies right from the development stage. Because of worldwide procure- more on page 21 family – Direct services between Langen­ for its customers. To fi nd out how ment logistics, there are almost no limits placed on the creativity of feld and Barcelona – Douglas powered this can happen for you too, log designers in their choice of materials. Thus, logistics is there over the whole pro­ by Logwin – Central Warehouse for work on to www.logwin-logistics.com duction process, from the draft to the fi nal product. clothing relocates For the economy, the international fl ow of goods means that the regulation of focUs proJects supply and demand will be less regional and even more global in the future. This is a new situation for market participants. And it off ers opportunities – such as when 4 Life by design 18 Wool, silk and stinging nettles bacKgroUnD lamps designed in Africa become a hit in the living rooms of the large industrialised We encounter deliberate design Jan Kath’s wonderful world of rugs countries. everywhere 29 Working together across the country 19 Tradition is in Collaboration with DTL The focus in this issue of our magazine prompts us to look at our own requirements 8 Design from Brazil, Russia, Traditional fashion from Spieth & Wensky and to ask how satisfi ed we are with the design of the Logwin Maga- India and China – BRIC in a frenzy distributed by Logwin 30 World records on pillars zine. We have reviewed the concept to liven up the magazine, to go even further of design The world’s longest bridges outside the box and to place strong contents in an outstanding setting. That’s be­ 20 Designs as long-lasting value 11 Combating the theft of ideas 32 newsfl ash cause we want to keep on getting better – for you, our readers. Enjoy the new issue. Dixie Toga develops packaging for Trademark attorney Dr. Jens Matthes on Logistics young talent awards – Charity South America protecting designs project – Logistics for OTCF Poland – Sincerely, 21 Bench. pressing ahead Logwin supports Wings for Life – Łukasz Miłaszewski is a forklift 12 Centres with reputation Americana label Bench. opens online Anniversaries: 20 years of Logwin – operator and responsible for Interview with designers from the shop in Germany More warehouse space – Locations in cross docking activities in the centres of design culture Cape Town, Italy – Expansion in Asia Logwin branch in Łódź, Poland. Istanbul and Paris 22 Fascinating light shows S[quadrat] supplies cities and stadiums 35 Competition 14 Is the centre of design shifting? Berndt­Michael Winter with mega­media solutions Interview with Andrej Kupetz, CEO Logwin AG German Design Council 23 newsfl ash Rijeka location on the Adriatic Sea 15 newsfl ash Locations Bucharest & Graz 16 BRAX – a traditional brand with style coUntrY profiLe About supply chain management in the fi eld of fashion Mexico – 24 In search of the Aztecs Getting to know the ancient and modern Mexico on page 24 2 Logwin Magazine 02|1 2 www.logwin-logistics.com 3 focus — design Design Encounters with design in everyday life: Microwave “Sweetheart” by Art.Lebedev design as economic driver studio (Moscow) for Samsung. Anyone who models things in some way is a designer. Which is why nowadays we even talk about design in rela­ tion to customising technical or production processes. But usually the term refers to an object’s aesthetic quali­ ties. Our current definition of design developed with the progression of industrial production in the 19th Century. Mass art While furniture, cutlery and textiles used to be individually manufactured to order, prototypes now had to be produced for serial production. Manufacturers commissioned artists to ensure that the now unknown customers would actually like their products: They designed lamps, chairs or kitchen appliances to satisfy consumer taste. The creativity of craftsmen, architects, engineers and theatrical experts also had a great impact on the design of industrially manu­ factured everyday objects. As pioneers, the first designers were guided by the fa mil iar, the historic. But the new style of manufacturing demanded its own forms. The “Journal of Design” appeared in Great Britain in the middle of the 19th Century. Amongst others, the publisher Henry Cole critically addressed the issue of modern design and initiated an international exhi­ bition of products. Consequently, in addition to the retro­ spective ideals, there were early efforts to grasp industrial production as a new artistic design challenge. What makes premium products so desirable? A decisive influence upon this new direction was ex­ Cutting-edge technology, service and, in- erted by the Weimar Bauhaus, which can be credited with creas ingly, design. A glimpse into a world being the first school that offered a higher education for that is playing a growing role in the global artist­designers in a modern manner, being founded in 1919. Industrial design started with Bauhaus: simple, aes­ economy. thetically pleasing, basic forms that could be manufactured serially by machines. They dictated the style of the New Objectivity movement. Today, this steel frame based resi­ dential design with its clear lines is referred to as “modern classic”. ■ Hotel Dar Hi in Nefta, Tunisia, by Matali Crasset. An artistic synthesis of design and architecture, environmentally sophisticated with regional materials, and constructed by local craftspeople. 4 Logwin Magazine 02|1 2 www.logwin-logistics.com 5 focus — design Differentiation A second vital stimulus for modifying design emerged from the USA at the same time. Because of mass production, there was an oversupply of comparable consumer goods. Design now became a competitive factor: the more attractive the form and colour, the greater the commercial suc­ cess. The signifi cance of design as a diff erentiating factor increased, and industrial design as a profession was born. As one of the fi rst companies to do so, the automotive manufacturer General Motors established the department “Art and Colour” as early as 1926, promoting sales through attractive styling – “Good Design Is Good Business” was coined as a motto. At the same time as design was increasing in importance, people became more conscious of brands. Not only the products, but also the public image of a company now embodied potentially unmistakable features. Today, corporate design is an indispensable part of brands and companies: It lift s their public profi le and boosts recognition. In times when branded products such as cars, sports shoes and handbags are status symbols, this is an important aspect of sales. One that has obviously been known for some time – the German bakery company Lambertz began naming its gingerbread products way back in 1688. The form of the Soundsta- tion Radio Clock shows what it does: Be loud. Art Direction: Philippe Starck/Matali Crasset for Desirable mass-produced Lexon. article: Chair No. 214, the so-called ‘Viennese Café Chair’. Michael Thonet achieved a breakthrough for industrial production in 1859. It was the fi rst division of labour in fur- But we enjoy more than just visual and tasty treats. In addi­ niture production. The chair was easy to disas- tion to the optical and haptic impact, the acoustic and olfac­ semble and space-saving tory impression must also be perfect. Designers spend just Visual modesty was already a design ideal in transport. back in 1958: The T3 transistor radio by as much time on the rich sound a car door makes when clos­ Braun – designed by Dieter Rams.