Documento senza titolo


Knut Maierhofer


The KMS showreel shows 4500 images in four and a half minutes, and is acoustically accompanied by rapid techno rhythms. Suddenly, the flood of images breaks off abruptly; slightly entranced, you squint and ask yourself what it is that you have really seen just now (see link under
What was shown was the work we did over the last year. With this film, we counted on the curiosity of the viewer – on the fact that the viewer would want to see once more what he/she didn’t quite manage to discern on the first viewing. In so doing, we of course also accepted the possibility of being misunderstood. Which of the 4500 motifs would be remembered in the end depends on the existing patterns of perception. Every person sees something different. Perception is subjective and only an interpretation of what really exists. What we see is in the first instance not what our senses register, but rather what we want to see.

This basically quite trivial realization is of great importance in the area of design and communication. It is really elementary to our work, for the precondition for the target group’s ability to understand that design can be clearly categorized by existing patterns of perception.
In the following, I want to explain how we use the knowledge of the selective character of perception in our work for communicative purposes. I chose the corporate image we developed for Porsche Design as an example that illustrates this aspect particularly well.
The task was to develop a new corporate design for the Porsche Design brand, which would support the planned establishment of the brand in the luxury and fashion market.

The analysis of the existing situation of the firm Porsche Design founded by the Porsche grandson Ferdinand A. Porsche showed two things in particular. First, in developing the brand Porsche Design, it would be possible to exploit the great potential of the Porsche automobile brand, which up to this point had been used insufficiently and not consistently. Second, it became clear that in the past there had been no strategic planning with respect to the product range so that the task now would be to unite this extremely heterogeneous range of products under one roof.
We thus began with the already established brand Porsche, which evokes specific associations like technical know-how, sportive driving, masculinity and success. On these existing patterns of perception we formed our communication for Porsche Design.

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Design Management
VIZO Workshop

“Design makes the Difference”
Brussels, Belgium - 29/30 November 2002

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