SOMETHING NEW ON THE EASTERN FRONT / Japanese fascination for the German cake

SCALING PEAKS, COMBING BEACHES AND CROSSING DESERTS / On the move for Linde AG

SIGNS IN THE SKY / Corporate design on flying objects

T H E P E T E R S C H M I DT G R O U P M AG A Z I N E

#1 JOURNEY

Pages 14/22 Sydney, Australia

Pages 15/22/23 Hammerfest, Norway

Pages 03/12/13/16–17/23 Switzerland

Pages 18/19/22 Denmark

Pages 30–31 Antananarivo, Madagascar

Pages 20–21/23 Shanghai, China

Pages 04–11/14/23/32 Tokyo, Japan

Pages 12/13/18 Dubai, United Arab Emirates

Design without boundaries:Coordinates of our work.

Cover photo: Free range – In the pedestrian area in Hammerfest, the odds of running into a reindeer while

you’re shopping are high. An image from the photo shoot for Linde AG’s 2005 Corporate Responsibility Report.

>>> Curiosity is one of the best motivations for taking a journey. Whether we fly thousands of kilo­

meters to experience exotic climates, different cultures and the exciting life of various major cities,

or merely explore new territory within the impenetrable expanses of our imaginations – curiosity is

a powerful driving force. People who had the courage to press beyond familiar boundaries and to

navigate previously untried paths are to thank for the discovery of whole continents, the exploration

of the seven seas and the revelation of scientific milestones. Journeys can inspire, especially when

we take along a healthy dose of pioneer spirit. Our work for clients around the world leads us time

and again to both familiar locations and points unknown. The impressions we gather from these

places move us – and inspire us to develop many new ideas. We’d like to share a few of these ideas

with you. Bon voyage!

Foreword 03

A sea of light in the asphalt jungle: a street scene in Tokyo’s Shinjuku district.

>>> GERMANY MEETS JAPAN: THE REVITALISATION OF THE JUCHHEIM BRAND

BY THE PETER SCHMIDT GROUP. GOETHE AND THE AUTOBAHN, NEUSCHWANSTEIN

AND PRECISION ENGINEERING – THE IMAGE OF GERMANY IN THE MINDS OF

THE JAPANESE RANGES FROM THE TRADITIONAL TO THE MODERN. PRECISELY THE

WAY JAPANESE SOCIETY IS VIEWED BY GERMANS. THE TWO CULTURES HAVE

A GREAT DEAL IN COMMON. IT’S NO GREAT WONDER, THEN, THAT A PRODUCT OF

OLD GERMANY HAS BECOME A COVETED ITEM IN JAPAN: BAUMKUCHEN

(LITERALLY: TREE CAKE).

The Nippon Connection

04 Brand and Packaging Design for Juchheim Brand and Packaging Design for Juchheim 05

>>> IT ALL BEGAN WITH KARL JUCHHEIM. WHEN THE GERMAN MASTER BAKER AND

HIS WIFE, ELISE, OPENED THE VERY FIRST NON­JAPANESE BAKERY IN JAPAN IN 1921,

HE COULDN’T HAVE FORESEEN THAT HE WAS LAYING THE FOUNDATION FOR AN UN­

PRECEDENTED NATIONAL SUCCESS STORY. TRADITIONAL GERMAN CAKES SUCH AS

THE BAUMKUCHEN (LITERALLY, TREE CAKE) AND FRANKFURTER KRANZ (FRANKFURT

CROWN CAKE) ARE HIGHLY COVETED IN TODAY’S JAPAN. A RENDEZVOUZ WITH GER­

MAN BAKING TRADITION MADE IN JAPAN.

>>> Germany and Japan have more in common than you might

at first realise. Rapid post­war reconstruction was followed by

quick economic success and a rise to industrial­nation status.

Basic democratic values and a constitutional system became

firmly anchored in both countries. And both countries share a

societal ambivalence with regard to the traditional and the new.

As a consequence, a contemporary Japanese brand with a Ger­

man tradition such as Juchheim not only needs to determine

what links the two cultures, but also needs to be able to reinter­

pret its German heritage before the backdrop of modern Japan.

Today, the Juchheim brand is considered a synonym for superior

confectionary products. And there’s nothing old­fashioned about

the reputation of this old tradition. The result of years of collab­

orative effort between Juchheim and the Peter Schmidt Group

is a brand presence that balances tradition with modernity, and

that links the company’s German roots with a widespread philos­

ophy of pleasurable consumption: history as a foundation for the

future of a strong brand. The visual appearance has far­reaching

consequences. It marks the products, the design of the company’s

headquarters, the flagship store in Tokyo’s Marunouchi Building

and hundreds of branches and department stores all across Japan.

06 Brand and Packaging Design for Juchheim Brand and Packaging Design for Juchheim 07

An old tradition with a modern face: Juchheim Restaurant in Shinjuku, Tokyo.

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3

>>> The design process is a journey in itself. Many crucial steps

must be taken along the way in order to reach the goal. And one

of the most crucial pieces of luggage to take along is intercul­

tural insight. It’s not enough to merely read up on Japan. In order

to understand a culture and its people and to be able to work

together to produce solutions, you have to be able to empathise

with each other. After all, common understanding is the result of

experience. In the process, we discover fundamental differences.

For example, the Japanese decision­making process is more time­

consuming and involves more discussion, but once the decision

is made, it is implemented quickly. It’s quite different in Germany.

Germans quickly come to a consensus and save the intense dis­

cussion for the implementation phase.

Transformation of the former logo in the colours of the old

German Reich into the clear, modern corporate and brand

design of today also sharpened the focus on the similarities.

Much of what is sold in the chic Tokyo department stores

and the roughly 250 Juchheim branches is the result of team­

work between Germans and Japanese. Just as Juchheim’s

master bakers perfect their craft in Germany, German design

ers broaden their horizons with each trip they take to Japan –

a country widely praised as a designer’s paradise. Browsing

through Tokyo’s shops is pure inspiration. Food displays, lovingly

packaged and elaborately presented, are often comparable to

what you see in Germany’s luxury goods or jewellery stores.

>>> CLARITY, PREMIUM QUALITY AND VIBRANCY – A BRAND’S FACE REFLECTS ITS

PERSONALITY. EXCLUSIVE CAKES AND CONFECTIONARY CREATIONS ARE PRESENTED

LIKE RARE GEMS IN THE JUCHHEIM SHOPS.

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6

4

9

1

2

3

4

5

Baumkuchen tower for the opening of the Marunouchi Building

Heidesand (sandies), fine pastries

Liebesbaum (literally: love tree) Baumkuchen tips

Himmlisch (heavenly), light pastries

Baumkuchen specialities

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7

8

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Karl Juchheim Baumkuchen ring

Alpine milk pudding, fruit tray and various summer desserts

Koenigspie (literally: king’s pie), a puff pastry delicacy

“Meister” collection, a selection of pastries

“Der Baumkuchen” (literally: tree cake)

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08 Brand and Packaging Design for Juchheim Brand and Packaging Design for Juchheim 09

Meisterhaftes Handwerk in angemessenem Ambiente: Juchheim Shop in Japan

Masterful handcrafting with matching ambience: the Juchheim Flagship Store in Tokyo’s Marunouchi Building.

CUTTING EDGE INSTEAD

OF CUCKOO CLOCKS

1920 2006

1920 Karl Juchheim

opens the “Café

Europa” in Tokyo

1921 The Juchheims

purchase a restaurant

in Yokohama

1923 Relocation to

Kobe, today’s head­

quarters

1930 Juchheim

be comes nationally

known thanks to

large orders

1945 Karl Juchheim

dies

1953 Elise Juchheim returns

to Kobe as a representative

of the confectionery

1967 Takeshi Kawamoto is

the first Juchheim employee

to begin training as a confec­

tioner in Germany; the com­

pany is now managed by the

third generation of the

Kawamoto family to head

the firm

1971 Elise Juchheim

dies

JUCHHEIM – A HISTORY OF ACHIEVEMENT

1947 Elise Juchheim, Karl

Juchheim’s widow, goes

to Germany; two former

Juchheim employees con­

tinue the confectionery

business

2001 Collaboration

with the Peter

Schmidt Group

begins

2002 Opening of the

Juchheim Flagship

Store in Tokyo’s

Marunouchi Building

10 Brand and Packaging Design for Juchheim Brand and Packaging Design for Juchheim 11

The colour scheme for Karl Juchheim is reflected in every detail: a dark, aromatic brown and a vibrant green are striking features that set the brand apart.

>>> On the move with the Juchheim brand. The ultimate goal is

not always in sight as we make our way towards it. But that never

stopped anyone from setting off on a journey; on the contrary,

that’s precisely what makes the process we experience together

so exciting and full of surprises. The new members of the Juch­

heim brand family are also the result of our joint effort to explore

unbeaten paths: each brand appeals to a different need and

clientele and interprets its German heritage in a different way.

The Karl Juchheim brand appeals to the exclusive tastes of a

younger consumer. Pure and masculine, minimalist and exclusive –

the essence of the personality of the German master confec­

tioner is transferred directly to the brand design. In the elegant

shops, Baumkuchen (literally: tree cake) is sold exclusively in all

its variations: it’s the product upon which Karl Juchheim once

based his success.

An important aspect of the relationship with Juchheim is the

highly developed gift­giving tradition in Japan. Bringing along a

present, small or large, to specific social events or special days

plays a major role in Japanese society. With this in mind, the pack­

aging takes on enormous significance, because along with the

gift itself, it shows esteem and respect for the recipient. In recent

years, Juchheim has successfully transported the long tradition

of the brand into the present and has reinterpreted that tradition

into a vision for the future. The Peter Schmidt Group is still the

company’s travelling companion – and the journey continues.

>>> OCEANS SEPARATE ALPINE PANORAMAS FROM VAST DESERT TRACTS AND STREET

CANYONS. WHAT LINKS THEM IS THEIR RELATIONSHIP TO LINDE AG. THE PUBLICATIONS

OF THE TECHNOLOGY GROUP SPEAK A CLEAR LANGUAGE – FASCINATINGLY PORTRAYED,

INTERNATIONAL AND DISTINCTIVE. PHOTOS THAT ARE TAKEN ALL OVER THE GLOBE VISU­

ALISE A SINGULAR IMAGE OF THE COMPANY. IN OTHER WORDS: TYPICALLY LINDE.

The visual imagery of a global player:

12 Linde Corporate Communication Linde Corporate Communication 13

the photo shoots for Linde AG.

In the Norwegian Barents Sea, Europe’s largest natural gas liquefaction plant is being created, built with expertise and technology from Linde.

>>> On the trail of sustainability: the Linde Corporate Respon­

sibility Report. With its corporate responsibility report, Linde

takes a clear position with regard to its social, ecological and

economic responsibility in all its relevant activities – worldwide.

The concept for its content and design links specific geographic

locations where Linde is active, to clear viewpoints on sustain­

ability. The Linde Group’s efforts to fulfil its cor porate responsi­

bility stretch from Hammerfest, a city north of the Arctic Circle,

to South Australia, and from Tokyo to Brazil. Technological

masterworks, ecological concerns and societal commitment can

be fully reconciled with each other. The photos lead us into origi­

nal scenes and deep into the fascinating world of Linde. And

aside from the breathtaking visuals from all over the world, this

brings us the realisation that everything we do has a conse­

quence. Even things we don’t do.

Awarded the

iF Communication Design

Award 2006 for excellent

design.

Sites of corporate responsibility: Tokyo and a eucalyptus forest in Australia.

NorwayAustraliaJapan

14 Linde Corporate Communication Linde Corporate Communication 15

>>> Discovering the world of Linde with young employees: the

recruiting brochure. Our own future is in many ways unknown

territory. Starting work with a new company is also initially bound

up with risks and the unknown, for both the employer and em­

ployee. If we view a career future as a journey, then those starting

their careers with Linde become corporate pioneers. That’s the

concept; the stage for the photo shoots is the grandiose moun­

tain range of the Swiss Alps. Trainees, apprentices and young

executives take on a mountain hike together and report their

experiences in starting their careers, their everyday personal

challenges and the strengths that help them achieve their goals.

In this way, they sketch out a multidimensional image of a future

career in the Linde Group and give potential new employees

points for orientation. And what´s more: before the backdrop of

powerful mountain vistas, fascinating photos emerge that fit

perfectly into the visual imagery typical for Linde.

Switzerland

Ziele erreichen. Ihr erster Schritt

in die Welt von Linde.

High mountains, high goals – between Wetterhorn, Schwarzhorn and Schreckhorn mountains, young employees of Linde AG report their personal challenges.

>>> THE FOG LIFTS: DURING THE PHOTO SHOOT FOR THE RECRUITING

BROCHURE, EVEN THE WEATHER SEEMS TO UNDERSCORE THE INTENTION

TO BRING CLARITY TO FUTURE CAREERS.

16 Linde Corporate Communication Linde Corporate Communication 17

>>> The business year in the language of photos: the Linde 2005

Annual Report. Photos have a faster and more direct effect on

people than words. As the designer, we were on the hunt for sub­

jects that expressed the personality of Linde as a company and

that at the same time visualised the outstanding topics of the

year. We struck pay dirt in places like the fast­growing metrop­

olis of Shanghai, in the desert of Saudi Arabia, in Denmark and

in Tokyo. The innovative concept of separating the pure financial

report from the more image­laden section broke new ground in

the world of financial communication. Entitled “Trend­Setting”,

the Linde annual report supplemented the facts and figures of

the financial report with background information on the develop­

ments and highlights of the business year. In this way, each

reader can decide individually how deeply to delve into the

information and visual imagery of Linde.

Awarded the iF Communication Design Award 2006

for excellent design.

DenmarkSaudi ArabiaChina

Trend-setting paths in Denmark and in the desert of Saudi Arabia. Perspective is a matter of point of view: an unobstructed view of the horizon on the beach of the Danish coast as a visualisation of the concept.

>>> FARSIGHTEDNESS AND PERSPECTIVE: THE LINDE ANNUAL REPORT

DOCU MENTS THE DEVELOPMENTS OF THE BUSINESS YEAR AND OFFERS

INSIGHT INTO THE PRODUCT RANGE OF LINDE AG, AS WELL AS GIVING

A PROSPECTIVE VIEW OF THE POTENTIAL TO BE TAPPED IN THE FUTURE.

18 Linde Corporate Communication Linde Corporate Communication 19

High above the boom town of Shanghai, the television tower shines as a striking landmark of the city and as a symbol of growth in China.

>>> ASIA IS A KEY MARKET FOR LINDE AG:

THE METROPOLIS OF SHANGHAI IS REPRESEN­

TATIVE OF THE GROWTH MARKET OF CHINA.

THE INVOLVEMENT OF THE VARIOUS DIVISIONS

IS THE CENTRAL THEME OF THE ANNUAL REPORT.

THIS MOVED US AND AN EMPLOYEE OF LINDE

AG TO TAKE A COMPLETELY NEW PERSPECTIVE.

20 Linde Corporate Communication Linde Corporate Communication 21

The making of ...>>> IMPROVISATION, FLEXIBILITY AND PATIENCE – IT’S A GOOD IDEA TO TAKE A HEALTHY

PORTION OF THESE ALONG WITH YOUR EQUIPMENT WHEN YOU HEAD OFF FOR AN EXTEN­

SIVE PHOTO SHOOT. WEATHER CONDITIONS, LIGHTING AND SITE CONDITIONS MADE HEAVY

DEMANDS ON US. HERE A FEW IMPRESSIONS ...

The photographer on duty and certainly not easy to miss – Ruediger Nehmzow in a safety suit and protective helmet on the Statoil island in the north of Norway.

Melkøya Island, Norway

Task force in the battle against the “terror of the blue

sky” – photographer Claudia Kempf and her assistant

attempt to place the subject in the right light.

Somewhere in western Australia

Standing 75 metres above ground on 2 square metres

of space at temperatures hovering around freezing –

seems like a new extreme sport: extreme photography

Roskilde, Denmark

This is what loneliness looks like: red dirt and salt des ert wherever you look on the flight from Sydney to Perth – on the way to the next subject to be photo­graphed.

In the outback, southern Australia

The weather gods seem to have forsaken us at the

moment: fog in the moor lands and clear skies starting

at 2,000 metres – back to the valley with visibility less

than five metres.

Grindelwald, Bernese Oberland

Patience is a virtue in Shibuya, Tokyo’s consumer para­dise: in the land of the rising sun, we wait for the sun to go down.

Tokyo, Japan

Light as day even late at night – and the stars of the

show are always in the right light: the model, assistant

and photographer relax.

Melkøya Island, Norway The best view in the world is no help when clouds of fog from the Chinese sea suddenly cover the build­ings: the view of Shanghai’s Pudong financial district.

Shanghai, China

22 The making of The making of 23

Tailwind for the Wings of the Crane

>>> Design for Lufthansa: from the boarding pass to the anni­

versary book. The year 2005 was an important one for Germany’s

largest airline. In April, Lufthansa – revived in 1955 – celebrated

its 50th birthday. A superb occasion to publish a catalogue to

ac com pany an exhibition in the Frankfurt Museum for Applied

Arts. The Peter Schmidt Group, as the long­time brand manage­

ment and corporate design agency for Lufthansa Airline, was

commissioned with the design of the cultural history of the air­

line’s visual appearance. “The Wings of the Crane” traces in detail

the development of the world­famous brand. The white book

cover is pure understatement. No photo, no print – only an almost

invisible, embossed logo signals what it’s all about – 50 years of

Lufthansa design packaged elegantly between the two covers.

Only one of many design tasks under the mark of the crane that

we claim responsibility for.

24 Corporate Design for Airlines Corporate Design for Airlines 25

>>> TAKING OFF FOR NEW HORIZONS WITH LUFTHANSA REGIONAL. AS DESIGN PARTNER

TO LUFTHANSA AIRLINE AND ITS SUBSIDIARIES, WE ARE RESPONSIBLE FOR LOGO

DEVELOPMENT FOR LUFTHANSA REGIONAL. AUTONOMOUS, BUT WITH A CLEARLY RECOG-

NISABLE CONNECTION TO LUFTHANSA. THE DESIGN HAS BEEN FEATURED ON THE AIR-

CRAFT FOR THE PAST FEW YEARS AND MAKES ITS MARK AT EUROPEAN AIRPORTS AS WELL

AS IN THE SKY. WE WISH IT MANY MORE HAPPY LANDINGS!

Our ideas take flight.

Corporate design with substance: the dots represent destinations, linking hubs with small to midsize airports.

26 Corporate Design for Airlines Corporate Design for Airlines 27

A clear image for a successful take-off: the corporate design for the airline ensures a young and dynamic appearance on the ground and in the air.

>>> Consistency and efficiency as corporate design rules –

numerous airlines continue to offer more destinations at better

prices, to the delight of passengers. Germanwings positioned

itself within an increasingly tight market as a brand with a per­

suasive philosophy: unique, dynamic and young. This applies to

its visual appearance as well, which carries the identity of the

brand internally and communicates it externally. Together with

the client, the Peter Schmidt Group developed a distinctive com­

bination of corporate colours: a bold blackberry and vibrant

yellow. This colour combination is highly memorable and unique

in its impact. The primary flagship product of the airline, the

silver aircraft, also attracts attention. The dynamic design of the

tail unit in the corporate colours, and the distinctive German­

wings logotype, focus on long­range impact and assertively

project the brand values to the outside world, as can be seen

at many German airports.

Germanwings – destined for success with a vibrant brand presence

28 Corporate Design for Airlines Corporate Design for Airlines 29

>>> Bundled competence for implementation of complex tasks

in the airline business. The strategic alliance is clear: Lufthansa

Consulting, as one of the leading management consultancies

in the aviation industry and the Peter Schmidt Group, with its

many years of experience in aviation design consulting and

implementation, perfectly complement each other’s expertise.

The result of the first joint project is the visual appearance of

Air Madagascar. After two years of successful restructuring

through Lufthansa Consulting, Air Madagascar decided in 2003 to

document it´s new dynamism and vision in an appropriate way.

The current corporate design unites elements passed down

from Air Madagascar´s history and the country´s unique national

characteristics with modern, global market requirements.

The central symbol is the Ravenala tree, also known as the

traveller’s tree, which has long been associated with Air Mada­

gascar and which was slightly modified and updated. The

national colours of red and green were also retained, but varied

with different tints. Silver completes the present colour palette

and represents the technical aspect. The revised logotype

achieves high recognition value and differentiates the airline

clearly from the logos of competitors. The specific combination

of brand and design competence in the partnership between

Lufthansa Consulting and the Peter Schmidt Group lent efficiency

to this broadly designed rebranding process.

Destination AntananarivoA NEW IDENTITY FOR AIR MADAGASCAR – THE JOINT PROJECT OF LUFTHANSA CONSULTING

AND THE PETER SCHMIDT GROUP CONVEYS THE INDIVIDUAL CHARACTER AND THE OVER­

ALL CONCEPT OF A NATIONAL CARRIER WITH CREDIBILITY. COMPLETION OF THE SUCCESS­

FUL RESTRUCTURING PROCESS FOR THE AIRLINE WAS ALSO A NEW BEGINNING: IN THE

NEW CORPORATE DESIGN OF THE PETER SCHMIDT GROUP, AIR MADAGASCAR QUICKLY FLEW

INTO THE PROFIT ZONE AND TODAY IT REPRESENTS A POINT OF PRIDE FOR THE AFRICAN

COUNTRY.

THE TRAVELLER’S TREE IS A NATURAL WATER RESERVOIR. THE WATER IN THE LEAVES

OF THE PLANT QUENCHES TRAVELLERS’ THIRST ON LONG JOURNEYS AND IS THE SOURCE

OF THE LOGO FOR AIR MADAGASCAR.

MA

DA

GA

SC

AR

Antananarivo

30 Corporate Design for Airlines Corporate Design for Airlines 31

Peter Schmidt GroupHamburg • Frankfurt •

Munich • Tokio

Masthead/Contact

Publisher

Peter Schmidt Group GmbH

Isabel Ossenberg

Corporate Communications

Westhafenplatz 8

60327 Frankfurt am Main

Germany

Tel. +49 (0) 69/85 09 93­25

Fax +49 (0) 69/85 09 94­18

Copywriting

stefan.boeckler@b­99.de

Photography

Thorsten Arendt (pages 26–29)

Claudia Kempf

(pages 04/06 –07/11/14)

Andreas Klingberg

(brochures and packshots

pages 09/10/14/17/18/24/25)

Ruediger Nehmzow (cover

and pages 03/12/13/15–21)

Bettina Schuermann,

PSG (pages 22/23)

Air Madagascar (page 30)

Juchheim (page 08)

Getty Images (page 31)

Production, composing

and lithography

Brand Implementation GmbH,

Hamburg, Germany

Printing

Mediadruckwerk,

Hamburg, Germany

Printed on Galaxi Keramik

by Papier Union