A new era in the history of German rail-ways was launched with the creation ofthe company Deutsche Bahn AG (DB).This article explains how DB can turn intothe symbol of an efficient, convenient,ecological and comfortable means oftransport, by applying brand marketingand corporate design concepts. In theend, the purpose of all entrepreneurialrailway activities is to transfer more traf-fic onto rails.
Corporate Design: The Brief
Shortly after the economic reform of therailways through privatization, DB faceda fundamental internal reform and re-vised its corporate organization in a pro-cess of critical self-examination. Itscorporate identity was reformulated. Theformer insular approach to the variousrailway brands, trying to put an individ-ual face on each product, was replacedby a harmonized design for all railwaysections (passenger stations, long-dis-tance and suburban/short-distance lines,goods transport and haulage). This facil-itates clearer and simpler handling of theDB brand.But the clear self-definition of DB is onlythe first step in establishing the railwayproduct as a reliable brand. The new cor-porate identity of a future-oriented, buttried-and-tested business, must be putacross adequately by means of a new cor-porate design among other things. Thisconcept entails coordinating all strategicand operative activities. In the future,the conceptual work, planning and im-plementation of advertising, product de-sign, interior design and architecture willbe coordinated and harmonized, becausecorporate design is the essential interfacewith customers. Only when corporatedesign is well thought out, is there a
chance of merging the identity and im-age of a company.The individual elements from all areas(technical apparatus, marketing, etc.) ofDB, which make up its image, must becombined purposefully to form an over-all picture conveying an unmistakeablecorporate image through corporate de-sign.Corporate design is the visible outer skinand structure creating a corporate inter-relatedness. The ‘Deutsche Bahn’ brandname functions as a kind of bracket en-compassing all company divisions thatdiffer in appearance, depending on thenature of their activities, and can devel-op divisional sub-identities. Within thiskind of organization, the passenger traf-fic business is of special significance. Thenew passenger stations division wastherefore constituted in addition to thelong-distance services and suburban/short-distance services divisions becausethe railway station is essential to shaping
the image of the overall railways prod-uct. In outward appearance, the railwaystation should articulate the promise of aproduct that the customer can rely on.Railway travel is a non-material productconsisting of the actual transport plus alarge number of services, some alreadyoperating, others still to be created bycustomer demand.Additionally, the importance of offeringthe customer an aesthetic experience haseither been underestimated, or simplydisregarded so far, although it is a funda-mental requirement if customers are togain confidence. The overall design, theinterior appointment and, of course, thearchitecture of station buildings as aes-thetic space to be experienced, are justas essential as the design and interiorfurnishings of railway carriages. The re-construction or new construction of themajority of the 6,500 German railway sta-tions represents a highly complex task,requiring extensive and detailed planning
Counter in Aschaffenburg Travel Centre Designed by Studio De Lucchi, Commended at 1996 Brunel Awards(DBAG)
taking into account many individual fac-tors. In terms of function, the railway sta-tion should be an ultra-modern serviceand communications centre. Achievingsuch a transformation is only possible byimplementing stringent design conceptssignifying both the aim of renewal andthe new DB concept.The launch of an innovative corporatedesign for Germany’s railway network re-quires an unusual measure of creativity.Deutsche Bahn gives proof of its open-ness and progressive thinking in choos-ing competent partners, architects anddesigners. Many experts are being con-sulted for the conceptual work, especiallythrough workshops where basic ideas aredrawn up.
Corporate Design: The Aim
Deutsche Bahn sells a non-material prod-uct—travel by rail. That has always beenthe case, but the things people associatewith a train journey were subject to con-stant change. For a long time, despiteexcellent preconditions such as long tra-dition, low prices and continual techni-cal renewal, rail travel had an aura that
did not make it seem high quality. Thisis still true today.In the long-term, the Deutsche Bahnbrand name should be associated withan improvement in the living standardsof every citizen. Corporate culture andpersonality as well as sophisticated cus-tomer demands should lead to a new cul-ture of railway travel. No other mode oftravel offers the same opportuniy for re-laxation as well as time for communica-tion or business. The convenient and fastinterconnected schedules of high-speedtrains must therefore be coordinated withall other services. The product must workon several levels and generally keep itspromise to the market with regard to bothtechnical standards and customers’needs. Fulfilling the latter requires morethan just functionality.The new concept DB has of itself as amodern and dynamic service supplier hasto be demonstrated in progressive tech-nical facilities and in the ensemble of itsconfigurations presenting a visibly uni-fied whole.To succeed in competition with othermeans of transport (car and aeroplane),the point has to be reached where peo-ple associate abstract, railway-specific
values with a main journey. And to suc-cessfully compete with private rail oper-ators, these values must be associatedexclusively with DB. Taking a DB trainmust become a clearly recognizablebrand item.Even before the journey, at the start ofthe so-called travel chain, and in any caseon entering the station, the traveller mustbe tuned in to the coming trip—no mat-ter whether they are travelling on busi-ness, or as a tourist. Leaving the stationat the destination should not be an es-cape; arriving should be the pleasant laststage of a smooth and pleasant trip, en-sured by a clear sequence of events. Thenodes—break points in a train journey—are of particular importance to the trav-eller, because this is where they makedecisions; this is where travellers are es-pecially observant and perceive the var-ious elements of their surroundings withmore than usual attentiveness(1).The user-friendliness of the station is con-siderably enhanced by clearly organizeddesign elements turning the concourseinto a space that makes travelling easier.Functionality is important for the station’susability and public acceptance. If theaesthetic features and atmosphere of therailway station are to be points of attrac-tion, then the normal transport operationsmust be inconspicuous. The stationshould function without travellers con-stantly coming face-to-face with the merefunctioning of railway transport. The rail-way station can also be an architecturaltreasure, but this seems to have been for-gotten.DB can take recourse to a valuable storeof established architecture and shoulduse this actively for its trademark image.The long tradition of the railways can beused for promotion, and the accentua-tion of historic railway buildings canbe interwoven in a meaningful and aes-thetically harmonious way wxith the newcorporate design and with modern con-temporary architecture.Ticket Counter in Westerland (DBAG)
24 Japan Railway & Transport Review • January 1997
Actually, for a long time, railways ne-glected the emotional side—the rail-af-fine components of train travel—from theticket machines and the design of vehi-cles down to the use and architecture ofstation buildings, especially with regardto aesthetics.Aspects of perceptual psychology as wellas customer habits and trends must beintegrated into the overall design so thecustomer can identify with the product.Form is shaped by a complex environ-ment bearing functional, structural, tech-nical, social, historical and many othercharacteristics. Even in this maze of con-ditions, desires, habits, and fashions, onecannot maintain form that ‘follows’.Form does not follow anything. It evolvesin a way about which we know very lit-tle(2). The DB design strategy addressesthe largest possible range of customeracceptance and reactions.Of course, railway stations must be func-tional, but they should be more than amere instrument for satisfying a basicneed(3). They also have to address aes-thetic and emotional demands. DeutscheBahn must use its chance of meeting suchdemands.The aim is a combination of functionalefficiency and abstract meaning. On oneside, there is the building engineering,but on the other side, there is the wholesphere of expression; the attempt to usethe structural forms in such a way as toconvey the meaning of the building tothe spectator and user, and enable them,with a fuller response on their side, toparticipate in its functions—feeling morecourtly when entering a palace, morepious in a church, more studious in auniversity, more businesslike and efficientin an office, and more citizenlike, morecooperative and responsible, moreproudly conscious of the community,when going about the city and partici-pating in its life(4).The DB customer should feel more in-clined to travel by rail. At present, the
image of the railway station considerablyimpairs the image of the product calledtrain journey. We must aim to achievethe opposite.
Revision
To answer the question whether and howDB can convey its identity and productto potential customers, it is useful to takea short excursion into the history of therailway station and its public reception.
ArchitectureThe railway station as a permanent ar-chitectural manifestation has not justbeen important for customers entering it;it has also been the centre of urban life.In most cases, the railway station occu-pies an unrivalled prime location in theheart of the city or in another convenientcentral position, connected to other trans-port networks. Persons on business ortourists almost always pass through atown’s railway station.The railway station of the future must bean attractive place that does not have tobe avoided at all costs. It should be giv-en another chance of becoming a vibrantpart of a polycentric urban layout, inte-
grated in its socio-cultural and econom-ic infrastructure.The Bahnhof 21 project, among othersat Stuttgart Hauptbahnhof, offers suchopportunities. An underground railwaystation is to be built in the next 15 years.The station building by Bonatz and Scho-eler will be largely preserved with theaccess to the underground platform hallcovered by a glazed roof. The most dra-matic change will be the relocation ofthe tracks in an underground tunnelthrough the city to the terminus, freeinglarge areas for housing or business parks.The station neighbourhood will be im-proved because it will be less noisy andpolluted, improving the image of traintravel as a result.In addition, shops and offices, etc., willbe integrated into the railway stationbuildings, creating a pleasant spacewhere people will want to go and replac-ing the present dingy snack bars and cin-emas which repel everybody includingpassengers. Letting shops and offices ata railway station requires an appropriateneighbourhood ambience.The Lehrter Bahnhof project in Berlin isan excellent example of how businessuses and railway operations are com-bined in one complex through which 30
million passengers are expected to passevery year. The station will no longer beregarded as an isolated building, but asan element within an overall urban ar-chitectural ensemble. Perfect integrationwith local infrastructure becomes self-evident, and the flows of regional andinter-regional traffic will mesh smoothly.The new railway stations will be modernservice and communication centres, withrail travel as the main service. Their ar-chitectural configuration and design willconvey the DB image to potential cus-tomers, local inhabitants and visitors. Anup-to-date transport architecture createsa balance between the progressive andthe timeless.Mumford speaks of buildings, ‘...designedwith utmost rigour for effective opera-tion....’ and says, ‘But these buildingshave at least the quality of all organic cre-ations; they identify themselves and sosymbolize the function they serve. Whena steam locomotive is fully developed,for example, so that all its excrescencesand technological left-overs are absorbedin a slick overall design, “streamlined”..., that locomotive not merely is morespeedy than the primitive form, but it saysspeed, too’(5).
The Station’s Public Appeal
In the 19th century, railway stations wereseen as the cathedrals of transport andthe new city gates. To travel by train wasa fascinating experience, even thoughthis mode of transport was very uncom-fortable for most. The architecture of sta-tion buildings reflected the fact that railtravel was held in high esteem. Almostno other historic edifice was built to suchgrand architectural designs. There wasan air of luxury surrounding rail travel,and the station was a grand and livelyplace radiating a noble atmosphere.However, basic structural changes in theearly 20th century led to the decline of
railway stations—their aura and outerand inner appearance—and this had adevastating effect on the value attributedto train journeys.After the emergence of mechanized andindustrial mass production during thesecond half of 19th century, mechaniza-tion also entered the people’s private livesat the beginning of the 20th century. Astechnology produced a constant streamof new products, people in cities had lessmoney to spend.Most people working in cities also livedthere and used local transport. The de-velopment came full circle with themeans of transport entering people’s dailylives in the 1920s as the car, which wasincreasingly seen as a mobile householdobject and which is the last part of anAmerican’s belongings that he or shewould part with(6). The American’s affin-ity to the car as personal property appliesto Germans to an even larger degree. TheVolkswagen, or ‘people’s car’, becameevery German’s dream. Conversely, therailways and their stations, were de-per-sonalized.The railways no longer provide greattechnical fascination. People have losttheir emotional ties to railways and arenow emotionally attached to their ownprivate property. No more money is spenton the architecture of railway stations,instead traffic planners press ahead withroad networks. The railway station isreduced to a mere stop where one spendsthe shortest possible time—a mere neces-sity.After World War II, destroyed railway sta-tions were reconstructed to post-warfunctionalist designs. Makeshift annex-es were added to historic buildings(7) andgradually fell into decline.The economic boom of the 1950s wasaccompanied by far-reaching changes inlifestyles and living standards. The vari-ous crazes—like the eating craze, thetravel craze, the car craze—held enor-mous fascination and conquered new
consumer groups, capturing both the in-dividual and collective imagination(8). Bycontrast, railways appeared old-fash-ioned and became the transport of seniorcitizens and people without a car. Theouter appearance of station buildings cor-responded to this attitude. Already in1967, one observer remarked, ‘Uneasi-ness befalls me when I face the style ofGerman reconstruction, and many of youwho are confronted with such buildings,just as much as any professional expert,will share this feeling’(9).The car seemed indispensable due to itsapparent independence, and consequent-ly the railway stations lost the significanceand architectural quality of the 19th cen-tury. Stations joined Sleeping Beauty in akind of aesthetic slumber from the 1950sto 1990s followed by an unpleasant awak-ening with regard to their architecturaldesign and slump in passenger marketshare from 36% to just under 6%.
Status quoToday the cities with their high propertyvalues and cost-of-living are no longerthe centres of manufacturing industrywhich long since migrated to the urbanperiphery, increasingly making itself de-pendent on motorway infrastructure.Formerly, railway networks were prereq-uisites for the establishment and devel-opment of industrial ventures, but theyhave experienced a change in function;both the cities of the late 20th centuryand those of the next century will be cen-tres of services and communication tech-nology. The products of these economicsectors are non-material, meaning fewergoods to transport, so the urban railwaystations will primarily serve passengertransport.This facilitates restructuring and recon-struction of railway stations as suggest-ed. Interconnection with urban freightstations becomes obsolete since any busi-ness or industry near a railway station willnot necessarily rely on rail haulage. Con-
26 Japan Railway & Transport Review • January 1997
sequently, the design of railway stationscan be based for the most part on the re-quirements of passengers—goods haul-age should be served elsewhere. Therailway stations must adapt to a societythat is largely affluent middle class. Rail-way customers have changed. For a longtime, the railways were considered relieftransport for the poorer classes; today, themiddle class and business travellers areits customers.There are numerous reasons for not tak-ing the car. The stronger awareness ofecological considerations has perma-nently injured the car’s image. Drivingalong congested roads is frustrating, andlarge cities experience regular trafficjams. Car theft, lack of parking spacesand dark multi-storey car parks dampenthe car enthusiast’s spirits. By contrast,the railways are again evoking positiveassociations of an increased ecologicalcompatibility.Two key constituent parts of the rail-ways—transport and service—must bebrought together. The big gap betweenthe technically highly-refined transport inhigh-speed trains, and neglected servic-es, must be filled in terms of design.Deutsche Bahn now has the chance ofgiving shape to the idea of a sophisticat-ed, cultured way of rail travel.How can DB react to the changes in so-cial conditions? Deutsche Bahn, with itscorporate design strategy, has set out onthe right track to meeting the largest pos-sible range of customer needs. It offersnew products and services which cus-tomers accept as convenient, practical,pleasant, or simply as a good brand item.
Corporate Design:The Concept
The acceptance of the rail travel productand of the stations must be taken into ac-count much more in the conceptual workon an overall design. The main theme ofthe railway station should be travel and
all activities pertaining to that. Everybuilding performs work, if it is only tokeep off the rain or to remain uprightagainst the wind(10).The emotional attachment of the custom-er to the product of rail travel, and theidentification of this product with DB,must turn into an awareness of a branditem. Reliance will be created by visual-izing a clear and enduring corporatestructure. Aesthetic features can perma-nently influence the impression an ob-server has of a corporation. So a personentering a station again feels close to thetrain journey. The unified overall appear-ance of the corporation through corpo-rate design is defined by innovation andconfidence. Unified aesthetic standardscomplement and emphasize the individ-uality of the station. An architectureworthy of preservation, as well as localcolour, gives a distinct personality to eachrailway station.The corporate design is based on the prin-ciples of overall unity and diversity of in-dividual elements. The new railwaystation is designed as a consistently uni-fied space to be experienced, satisfyingevery customer’s demand of it. The newconcept of passenger stations is essen-tially determined by three factors: qual-ity, economy and customer as focus. Thiswill be achieved by a unified brand im-age with permanent features and struc-tures in keeping with the corporateidentity.Immediate measures are included in thethree-step programme: safety, cleanli-ness, and service, are the values custom-ers should associate with the railways.Safety could be ensured by increased em-ployment of security guards at railwaystations, but this can lead to high costsand also creates an unfriendly controlledatmosphere. So the feeling of safetyshould rather be conveyed by architec-tural design and appointment of interiorspaces. Transparency and a friendlyambience are key words. Equally, clean-
liness must be created not only by clean-ing, but also by use of bright, easy-to-keep materials, and an architecturewithout any slummy corners. Of course,service is an essential basic prerequisitefor the new concept of passenger stations.Following the various improved, person-alized services, the emphasis is on ser-vice through design.Findings from qualitative market analysesand customer interviews by experts formthe basis of the design process. Forward-looking solutions must be found which donot just rely on the status quo of presentcustomer structures.The basic demand required of compre-hensive strategic measures is longevity,requiring a basic agreement on the de-sign fundamentals and aims. Today’s de-velopment must remain innovative andcontemporary for a long time. Differentelements may be altered in time withinthe basic corporate design structures.In practical matters (e.g. choice of mate-rials), the value of longevity must also beensured, if only in view of future renova-tion cycles. In the long-term, design andtechnical quality are worth the cost.In addition to conceptual work, all stra-tegic activities are managed by the De-sign Management Division. Projectmodels are subjected to intensive accep-tance tests and findings are integrated intoprototypes, some elements of which areinstalled at just a few larger stations.Like the new outward appearance, thefunction of the railway station must bere-defined, too, requiring dynamic re-form, because its original function haschanged. The fact that this activity isoccurring in so many diverse places (atleast in countries where conservation isan issue) is proof of the essential place ofthe railway station in the history, sociallife, arts, and affections of so many largeand small communities. The station wasnot only a vital link for each town andvillage to its wider locality, region, andstate, it was also a meeting place, com-
munity centre, and shopping area. It wasthe telegraph office, post office, news-agent, and vital news and intelligence-gathering centre in countless townsaround the world. With the fragmenta-tion of transport facilities and opportuni-ties, the containerization of freight, andthe rise of the mass media, no other build-ing will ever have the same all-embrac-ing role. In that sense, the originalsignificance of railway stations can nev-er be resurrected(11).By combining various infrastructural servic-es, the railway station can fulfil the needsof travellers in the best possible way, andwork as a vital centre of activities at thesame time. The railway station should bea service and communications forum.
Corporate Design:The Implementation
The new concept of the public presenta-tion of DB is being implemented in anumber of ways, by means of a quantita-tive increase in and qualitative improve-ment of its products (variable tariffs, moreflexible schedules, etc.) among others.Deutsche Bahn is now setting new stan-dards for a top-level, all-encompassingdesign.
Basic criteriaThe criteria for all development steps de-scribed on the following pages are: lon-gevity, safety, flexibility and authenticity.Fundamentals for the choice of form, co-lour and materials are the basis of fur-ther activities. All constituent parts of thecorporate design should be simple, time-less, functional, yet innovative in detail.Like other firms with an unmistakabletrademark colour (red for Coca-Cola, yel-low for Lufthansa, etc.), as a first step,DB decided on corporate colours of red,grey (two shades), dark-blue, and light-blue. The colour range was restricted infavour of a clear, easily-recognizablecatchy design.
The entire range of possible materials wascombed; durable and authentic materialstandards, complementing the corporatecolours, were chosen. Natural materialslike wood, stainless steel, aluminium,natural fabrics and leather were chosenreplacing interior materials differentiat-ed by veneers or coatings.
GraphicsProfessor Kurt Weidemann designed thenew graphics in cooperation with DB,giving evidence of the corporation’s in-novative intention. The old DB logo wasrevised with care taken not to impair itsrecognizability. However, compared tothe old logo, it appears simpler, more suc-cinct and up-to-date.
TrainsDeutsche Bahn trains now appear as auniform group; the different colours oflocal/suburban and long-distance trainswere replaced by a uniform colourscheme in the corporate colours red andwhite. Various elements create a differ-entiation; horizontal colour strips forlong-distance trains, and vertical articu-lation (emphasis of doors) for local/suburban trains. The formal design vo-cabulary applied to railway trains denotes
their belonging to a family. All DB trainshave the same basic form, with the headdesigns varying according to the traintype.The interior appointments follow the ba-sic principles of the corporation’s design:leather, wood, and woven wool carpetsin 1st class compartments, natural fab-rics and wood in 2nd class.
Train platformsThe design of the platform furniture isgeared to creating a cool and calm ap-pearance, apt to help travellers find theirbearings immediately before departure orafter alighting. Platforms are divided intocirculation and waiting areas. Just a fewbasic high-quality materials are used;stainless steel, mild steel, glass and uni-formly-coated surfaces, in a clear ar-rangement. Individual seats, benchesand props are of laminated wood andaluminium.At the same time, all service amenitieson the platforms have been redecoratedto present a uniform picture—advertis-ing boards, drinks machines, phonebooths, waste bins with separate contain-ers for different kinds of rubbish, andimportant information carriers made con-spicuous by their design. Ticket ma-
DB AG Platform Designed by von Gerkan of Marg & Partners, Winner of 1996 Brunel Awards (DBAG)
28 Japan Railway & Transport Review • January 1997
chines, carriage displays, clocks andemergency call boxes are clearly markedas basic pieces of platform furniture andelements of the train journey, helpingpassengers find their way or pass thewaiting time pleasantly.A new lighting system creates subtle am-bience. The present space lighting willbe replaced by systems providing spotlighting for certain areas and variation oflight intensities for others.Lighting systems will be integrated intoplatform roofs. The prevailing drearyroofs of the Essen and Frankfurt type willbe replaced by roofs designed by vonGerkan of Marg and Partners and by thecivil engineering consultancy Schlaichund Schuck.
Service areasSpecial attention has been paid to the de-sign of service facilities. The results ofvarious workshops and analyses wereused for a customer-oriented design. In-terior and product design have played abig role.Under the heading of a friendly railwaystation, concourses are equipped withdumbwaiters and service points, lendingthem character and enlivening them.These elements are just the beginning ofa long-term overall design concept for re-newing railway stations.
Travel CentresThe newly-installed Travel Centres havemeant a comprehensive refurbishment ofan essential part of railway stations. Theyoccupy a prime position in the customercontact and are symbols of transport per-formance and competence. Profession-al, well-designed workspaces alsocontribute to motivating employees. Pro-fessional competence, reliability and,above all, friendliness make up the Trav-el Centre’s personality. Speedy and reli-able information and advice in a peacefulatmosphere should be the norm.Four basic services—self-service, infor-
mation, sales and advice/consulting—allow flexible use and even distributionof customer streams in the Travel Cen-tres. In particular, customers can browseat leisure, advised by competent railwaystaff. More express-ticket counters willbe installed for business travellers, espe-cially during peak times. Since newcounters are designed for flexible use,they can react quickly to changing situa-tions. Information on LCD panels canbe updated instantly. The informationcounter offering specials for leisure trav-ellers can be transformed within secondsinto an express-ticket counter giving cur-rent information on a change of platformfor departing trains, or on connections.Furthermore, the Travel Centre is a com-petent travel partner due to its connectionswith local transport systems, car-hire firmsand airlines. By serving customers at stand-up counters, and advising them at sit-downdesks, the Centres offer a balance betweenquick information and the services of atravel agent.The Travel Centre is the heart of the rail-way station; everything here is focusedon travel. The main design elements areopen and inviting backlit counters. The
simple language of the individual units,in combination with a restrained colourscheme and high-quality materials(wood, glass, stainless steel) creates amatter-of-fact but attractive ambience,enhanced by appropriate lighting. Theoverall space is perfectly appointed withcomposite stone flooring, sound-absorb-ing ceilings, and blinds of natural wood.With regard to the technical side, the vari-able system fits in with the existing build-ing structures of the railway station. Therestrained aesthetics of the Centres insertsitself harmoniously into the station archi-tecture.The prototype for all Travel Centres, inAschaffenburg, is framed by glass walls,giving a view of the tracks and platforms.The 1950s architecture is supplemented,matched in style, and, at the same time,contrasted with transparency. Subse-quent Travel Centres are to be character-ized by transparency as well. Glazedenclosing walls and glass lighting mastswill point the way.
Travel StopoverThe comfort of the traveller before, dur-ing and after a train journey is determined
by adequate waiting and resting spaces.The railway is not meant to be an inter-face for transport connections, quicklytraversed, but an inviting place to stopand rest. The new spaces called ‘Reisepause’ (Travel Stopover) fill a vacuum cre-ated by the elimination of the old wait-ing halls. The customer is no longerforced to spend stopovers in a drafty con-course, or restaurants and snackbars.Instead, customers can spend time in var-ious waiting spaces designed for differ-ent groups; business travellers, families,youths and senior citizens—each can finda space suited to their needs. The ‘RelaxTunnel’ offers rest and concentration, thewaiting room offers amenities for childrento play, the conference room has the nec-essary communications technology. TheTravel Stopover hall also comprises a res-taurant and left luggage deposit. The ba-sic organizational element of the waitingzone is a space grid allowing the great-est possible degree of flexibility. It canbe fitted into any railway station withoutmajor reconstruction, and the variousspaces can be enlarged or made smallerusing movable partitions.The interior decor of Travel Stopover ar-eas is different. Standard elements, des-ignating function, are the same at everystation. Reception is symbolized by a biggreen apple in front of a wall in signal-lamp red. The children’s play barrel is afresh light-green, and the rest area is qui-et blue. These colours supplement thesimplicity of solid materials like wood,natural stone, leather and stainless steel.The Travel Stopover serves customers’ ba-sic needs for warmth, human scale, well-being, freedom of movement andcomfort. The main product of the rail-way station, fast and direct transport con-nections, is supplemented by space andtime for relaxation.
Travel FreshThe toilets of railway stations are pres-ently in a desolate state; many travellersavoid them entirely, considering themdangerous and dirty, and only using themin an emergency and hastily leaving. Thenew Travel Fresh spaces have toilets aswell as rooms for body care and make-up.All these new amenities are inserted intoexisting station buildings based on eachstation’s local situation and context. Inrebuilding or restructuring a railway sta-tion, the architecture retains the individ-ual character which is integrated into anew overall concept. Preservation andenhancement of valuable historic build-ings is a major goal. The timeless designof new elements and their careful inte-gration into the existing structures willneither outshine nor destroy historic ar-chitectural aesthetics.
Epilogue
First reactions to measures such as thepilot Travel Centre in Aschaffenburg, havebeen very positive. Both users and themedia are impressed. The corporationnow has to ensure that this positive im-pression, still mingled with appreciativeastonishment is confirmed. The new ser-vice facilities at railway stations and thecompletely new emphasis of the aestheticside of their appearance set widely-not-ed high-quality standards that DB mustmaintain and improve.In future, such continuous improvements
Christian Steguweit
Christian Steguweit is the head of the Concept and Planning Department of Deutsche Bahn AG
and is managing director of DEKOH. Before joining DBAG, he worked as the Head of Central
Marketing Lufthansa. Mr Steguweit also contributed the article ‘Tomorrow’s Railway Stations’ in
JRTR 6.
and innovations will be integrated intothe present design concept. Like everyother corporate design, the overalldesign of DB must give proof of a per-manently high level of innovative imagi-nation, creativity and, above all,sensitivity. Corporate design is the idealinstrument for processing the constant-ly-changing needs of customers and thusshaping the DB service enterprise. In thisway, the corporation will maintain its up-to-date development level. �
Notes0(1) Kevin Lynch, Das Bild der Stadt, Bauwelt Fun-
damente 16, ed. by Ulrich Conrads, Berlin/
Frankfurt/Vienna 1965
0(2) Julius Posener, Was Architektur sein konn, Basle
1995, p.38
0(3) Tilo Schabert, Stadtarchitektur–Spiegel der Welt,
Zurich 1990, p.103
0(4) Lewis Mumford, Art and Technics, New York
1952, p.112
0(5) Ibid., p.116
0(6) Sigfried Giedion, Die Herrschaft der Mecha-
nisierung, Frankfurt 1982, p.64
0(7) Ulrich Krings, Bahnhofsarchitektur. Deutsche
Großstadtbahnhöfe des Historismus, Munich
1985
0(8) Thomas Ziehe, Vom Lebensstandard zum Le-
hensstil, In: Wolfgang Welsch (ed.) Die Aktual-
ität des Ästhetischen, Munich 1993, p.69
0(9) Theodor W. Adorno, Ohne Leitbild, Parva Aes-
thetica, Frankfurt 1967, p. 104
(10) Gerhard Schultze, Die Erlebnisgesellschaft. Kul-
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