Wirtschaftsfaktor Projekter Büro für Industriedesign Duisburg

Economic factor design

Industrial design - a strategic tool

In view of the fact that mar­kets are beco­ming incre­asing­ly satu­ra­ted, com­pa­nies are faced with ever-increasing competition.

Design has long been reco­gni­zed as an eco­no­mic suc­cess fac­tor by many lar­ge, glo­bal­ly acti­ve com­pa­nies. Becau­se it is important to stand out posi­tively from the com­pe­ti­ti­on. Design pro­vi­des the decisi­ve com­pe­ti­ti­ve advan­ta­ge here.
Many com­pa­nies are awa­re of the importance of design for suc­cess, but are reluc­tant to actual­ly use it as a stra­te­gic eco­no­mic factor.

How can design bene­fit your business?

Befo­re we ans­wer this ques­ti­on in depth, let's first look at what design actual­ly means, how indus­tri­al design deve­lo­ped and what it achieves.

The term "Design" is an inte­gral part of today's lan­guage usa­ge.
We're tal­king about: desi­gner fur­ni­tu­re, nail design, desi­gner babies, design clas­sics, fashion desi­gners, desi­gner kit­chens, desi­gner glas­ses...
Howe­ver, the ide­as about what design means in detail dif­fer con­sider­a­b­ly. What unites the­se popu­lar desi­gna­ti­ons is the app­re­cia­ti­on that the addi­ti­on "Design" trig­gers. Howe­ver, the infla­tio­na­ry use unfort­u­na­te­ly ensu­res that the term is bur­ned as a mar­ke­ting dri­ving force.

Design can be deri­ved from the Ita­li­an word "diseg­no", which trans­la­ted into Ger­man means some­thing like "to draw / to plan".
In the English-speaking world it means some­thing like "Lay­out" or "Design". Here, in addi­ti­on to the form, tech­ni­cal and con­cep­tu­al parts of the design are impli­ed in the con­cept.
Design does not come about by chan­ce, but is always lin­ked to a plan­ning inten­ti­on, a con­cept or a strategy.

The term "Indus­tri­al Design" deve­lo­ped in the cour­se of indus­tria­liza­ti­on in the 19th cen­tu­ry.
Due to the acce­le­ra­ted deve­lo­p­ment of tech­no­lo­gy, pro­duc­ti­vi­ty and sci­ence, machine-made series pro­ducts were crea­ted for the first time, which were com­pared to the uni­que pie­ces made by hand. Pro­ducts were not made to order, but mass-produced chea­p­ly.
Plan­ning and pro­duc­tion were pre­vious­ly com­bi­ned in the area of respon­si­bi­li­ty of the craft­smen, but now con­cep­ti­on and pro­duc­tion have been sepa­ra­ted.
Humans were par­ti­al­ly repla­ced by machi­nes and com­pa­nies felt the need to design production-ready goods. Befo­re the start of pro­duc­tion, the­se goods were cal­cu­la­ted and desi­gned with regard to sales oppor­tu­ni­ties and cos­ts.
Indus­tri­al design was born.

In addi­ti­on to the aes­the­tic design of the pro­ducts, their prac­ti­cal­i­ty and ergo­no­mics came to the fore. Indus­tri­al desi­gners the­r­e­fo­re not only need to have an excel­lent under­stan­ding of for­mal cri­te­ria such as shape, pro­por­ti­ons and mate­ria­li­ty. You must also be able to ans­wer tech­ni­cal and production-related ques­ti­ons, be able to think ana­ly­ti­cal­ly and work in a solution-oriented man­ner.
For­mal design and func­tion are inex­tri­ca­bly lin­ked.
This plays a par­ti­cu­lar­ly important role in the design of capi­tal goods. Tech­ni­cal aspects, quan­ti­ty and ope­ra­ti­on often form the frame­work of the for­mal design. Opti­miza­ti­ons in pro­duc­tion, for exam­p­le through more modern pro­duc­tion methods, can be sup­port­ed with appro­pria­te for­mal design.
Lan­guage also plays a major role here - a com­mon voca­bu­la­ry forms the basis for com­mu­ni­ca­ti­on and under­stan­ding bet­ween design and construction.

Ger­hard Heuf­ler deli­mits indus­tri­al design from the com­mon­ly used design term as fol­lows: Indus­tri­al design is the "Design plan­ning of indus­tri­al­ly manu­fac­tura­ble pro­ducts or sys­tems. Indus­tri­al design is a holi­stic problem-solving pro­cess with the aim of adap­ting con­su­mer goods to the needs of the user on the one hand and, on the other hand, com­ply­ing with the rules of the mar­ket, cor­po­ra­te iden­ti­ty and eco­no­mic pro­duc­tion in the inte­rests of the com­pa­ny. Indus­tri­al design is also a cul­tu­ral, social and eco­no­mic fac­tor” (Ger­hard Heuf­ler, Design Basics 2009, p.17).

The design forms the link bet­ween high­ly spe­cia­li­zed indi­vi­du­al com­pon­ents and com­bi­nes them into a who­le - it finds a shape.

Development and status of industrial design 

From a his­to­ri­cal point of view, design has under­go­ne enorm­ous deve­lo­p­ment in terms of cor­po­ra­te poli­cy over the years and has beco­me incre­asing­ly important.

During the Indus­tri­al Revo­lu­ti­on, design was hea­vi­ly production-oriented. The stan­dar­diza­ti­on, reduc­tion of com­pon­ents and the aban­don­ment of super­fluous deco­ra­ti­on made the new men­ta­li­ty of indus­tri­al­ly desi­gned pro­ducts clear.

Using the exam­p­le of Tho­nets "Chair #14", the tra­di­tio­nal Vien­nese cof­fee house chair, this can be illustrated.

Image source: http://de.shop.thonet.de/klassiker/programm-214?orderId=&a=526#productimageoverlay[214]/1/

Thonet Stuhl Bauteile Produktdesign Designklassiker optimierte Logistik

The pro­duc­tion of cur­ved woo­den strips, per­fec­ted by Tho­net, is con­side­red the visu­al trade­mark of the fur­ni­tu­re. Howe­ver, the kit prin­ci­ple on which the design of the chair is based was revo­lu­tio­na­ry.
The chair con­sists of only six woo­den parts, 10 screws and two nuts. Indus­tri­al pro­duc­tion in com­bi­na­ti­on with the reduc­tion of com­pon­ents and the avo­id­ance of unneces­sa­ry orna­men­ta­ti­on enab­led cost-effective pro­duc­tion.
Assem­bly only took place at the desti­na­ti­on. So the chair could be deli­ver­ed packed to a mini­mum size.
By 1930, the chair had alre­a­dy been sold 50 mil­li­on times and beca­me a best­sel­ler worldwide.

Thonet Stuhl Bauteile Produktdesign Designklassiker
Thonet Stuhl Bauteile Produktdesign Designklassiker

In terms of pro­duc­tion, the focus of the design is on cost-effective manu­fac­tu­re, per­fect func­tion and ergo­no­mics, and an aes­the­ti­cal­ly plea­sing shape.
The cost-effective and, abo­ve all, mass pro­duc­tion of pro­ducts made it impe­ra­ti­ve to stand out from com­pe­ting com­pa­nies in the long term and to gene­ra­te distinc­ti­ve­ness.
With incre­asing satu­ra­ti­on of the mar­kets, sales ori­en­ta­ti­on gai­ned in importance. Design is regard­ed as an engi­ne of inno­va­ti­on and can thus open the door to new mar­kets or mar­ket niches.
Modern tech­no­lo­gy is seen as a com­pel­ling sel­ling point, and inno­va­ti­on crea­tes a com­pe­ti­ti­ve edge today, as it did then. Nowa­days, pro­ducts often no lon­ger dif­fer signi­fi­cant­ly on a tech­ni­cal level. That calls for dif­fe­rent defi­ni­ti­ons.
Crea­ti­ve design crea­tes scope for dif­fe­ren­tia­ti­on on a for­mal and emo­tio­nal level (cf. www.wirtschaftslexikon24.com/d/produktdesign/produktdesign.htm, retrie­ved on Janu­ary 29, 2020).
Bene­fits, advan­ta­ges and uni­que sel­ling points can be made visi­ble to the out­side through design. The pro­duct com­mu­ni­ca­tes the company's per­for­mance pro­mi­se.
If a pro­duct is tech­ni­cal­ly under­stan­da­ble and prac­ti­cal to use and con­vin­ces with its ergo­no­mics and design, this ensu­res a high user expe­ri­ence during use.
In this way, design sup­ports cus­to­mer loyal­ty, becau­se well-designed pro­ducts are remem­be­red, and satis­fied cus­to­mers are usual­ly loy­al to the supplier.

The deve­lo­p­ment of many count­ries into afflu­ent socie­ties and the asso­cia­ted safe­guar­ding and satis­fac­tion of ele­men­ta­ry needs crea­tes the desi­re for indi­vi­du­al self-realization and social recognition.

When loo­king at con­su­mer goods, it is noti­ceable that users incre­asing­ly iden­ti­fy with the pro­duct and, at the same time, with the values of the com­pa­ny behind it. Purcha­sed pro­ducts thus beco­me an expres­si­on of one's own life­style.
A posi­ti­ve and coher­ent image is the­r­e­fo­re beco­ming incre­asing­ly important for com­pa­nies. Emo­tio­nal posi­tio­ning crea­tes an iden­ti­ty that is dif­fi­cult for com­pe­ting com­pa­nies to dupli­ca­te.
Well-known brands like Apple have long reco­gni­zed that a design stra­tegy that is prac­ti­ced and con­sis­t­ent­ly pur­sued makes the decisi­ve dif­fe­rence bet­ween suc­cess and fail­ure.
Design has a strong exter­nal impact due to its com­mu­ni­ca­ti­ve effect. At least as important, howe­ver, is the effect it has through a "we fee­ling" deploy­ed insi­de the company.

Ear­ly in the deve­lo­p­ment pro­cess, it is deter­mi­ned which mate­ri­al or which manu­fac­tu­ring pro­cess will be used for pro­duc­tion. Desi­gners have a direct influence on the­se fac­tors through their design. You can have a las­ting effect on the cost of a pro­duct, for exam­p­le by using a mini­mal amount of mate­ri­als.
The design also affects the con­s­truc­tion.
If a pro­duct is desi­gned and tech­ni­cal­ly con­s­truc­ted in such a way that it can be repai­red, lon­ger life cycles are possible.

This aspect beco­mes par­ti­cu­lar­ly clear when con­side­ring a nega­ti­ve exam­p­le:
The­re are lamps whe­re the bulbs can­not be repla­ced. If the­se are used up or dama­ged befo­re the end of their ser­vice life, the enti­re lamp must be dis­card­ed and a new one purcha­sed. Alt­hough this gene­ra­tes hig­her sales, it annoys cus­to­mers, was­tes resour­ces and unneces­s­a­ri­ly pol­lu­tes the envi­ron­ment. Intel­li­gent design can pre­vent this.

Taking this thought fur­ther, design not only shapes con­su­mer cul­tu­re, but also our direct­ly expe­ri­en­ced envi­ron­ment. Becau­se ever­y­thing that sur­rounds us is desi­gned. This design can be more or less tar­ge­ted or con­scious, good or less good. We con­tri­bu­te to the visu­al world we live in and the­r­e­fo­re bear a gre­at respon­si­bi­li­ty. The­se tasks should be left to professionals.

In con­cre­te terms, this social respon­si­bi­li­ty is noti­ceable in public space. As part of a pilot pro­ject, the city of Duis­burg swit­ched the light­ing in some streets to modern LED tech­no­lo­gy. An exem­pla­ry mea­su­re, becau­se the new­ly instal­led tech­no­lo­gy saves elec­tri­ci­ty. This is good for the envi­ron­ment, sin­ce CO2 is saved, and in the long term redu­ces ener­gy cos­ts for the city bud­get. Added to this is the lon­ger ser­vice life of the LED lights. Expen­si­ve main­ten­an­ce work or rene­wals are redu­ced (https://lokalklick.eu/2018/02/02/stadtwerke-duisburg-ruesten-strassenlaternen-auf-stromspare-led-technik-um/, retrie­ved on Janu­ary 31, 2020).

Strassenlaterne Projekter Industrial Design Duisburg

The tech­no­lo­gy is con­vin­cing, the design unfort­u­na­te­ly not.
The new lamps are embedded in flat, rec­tan­gu­lar metal housings that are atta­ched to the exis­ting lamp posts in place of the old lamps.
The design is not up to par with modern tech­no­lo­gy. Worse, fai­ling to design appro­pria­te­ly makes the city­scape worse. An unu­sed oppor­tu­ni­ty to upgrade the alre­a­dy pola­ri­zing public image of Duisburg.

In terms of cor­po­ra­te poli­cy, the­re is a need for good net­wor­king bet­ween design, rese­arch and deve­lo­p­ment, con­s­truc­tion, manu­fac­tu­ring and mar­ke­ting.
In qua­li­ty manage­ment, the design pro­cess includes the design of the enti­re pro­duc­tion pro­cess and thus forms the basis of stra­te­gic, market-oriented cor­po­ra­te manage­ment.
Com­pa­ny examp­les such as Apple or well-known brands from the auto­mo­ti­ve indus­try show that a coher­ent cor­po­ra­te ID con­s­tructs a brand who­se values are inter­na­tio­nal­ly valid and reco­gni­zed. The design of the pro­ducts con­veys the­se values visual­ly, func­tion­al­ly, ergo­no­mic­al­ly and emo­tio­nal­ly.
Eco­no­mic suc­cess and design skills are linked.

Design - a measurable success factor?

As ear­ly as 1973, Tho­mas John Wat­son Juni­or explai­ned during a lec­tu­re: "Good design is good busi­ness."
Even if the state­ment by the mana­ging direc­tor of the lis­ted US IT and con­sul­ting com­pa­ny IBM dates back a few years, it has not lost its validity.

In addi­ti­on to tech­no­lo­gy and mar­ke­ting, design has beco­me the third pil­lar of a suc­cessful cor­po­ra­te stra­tegy” (Ger­hard Heuf­ler, Design Basics 2009, p.19). 
Com­pa­nies like Apple or Por­sche, whe­re design is deep­ly roo­ted in the cor­po­ra­te stra­tegy, are examp­les of above-average mar­ket success.

But how can this suc­cess be mea­su­red or documented?

The stu­dy "The beau­ty of added value" from 2009 by the mar­ket asso­cia­ti­on of the Ger­man Design Coun­cil and the Scholz&Friends group of com­pa­nies pro­vi­des insights and figu­res.
To this end, lea­ding Ger­man brand com­pa­nies were asked about the importance of design and its added value (http://www.markenverband.de/publikationen/studien/Designstudie, retrie­ved Janu­ary 30, 2020).

The stu­dy par­ti­ci­pan­ts agreed: 95% sta­ted that design is important for the image and iden­ti­ty of their com­pa­ny.
The means used for this affect the enti­re exter­nal image, i.e. the cor­po­ra­te iden­ti­ty, of a com­pa­ny. The pro­duct that is in direct cont­act with cus­to­mers repres­ents the com­pa­ny.
Just as many respond­ents indi­ca­ted that design plays a cru­cial role in brand equi­ty. Accor­ding to 97% of tho­se sur­vey­ed, design is also used to posi­ti­on yours­elf vis-à-vis com­pe­ting com­pa­nies, becau­se com­pa­ny com­pe­ten­ci­es are com­mu­ni­ca­ted to the out­side world through well-designed pro­ducts. In addi­ti­on, design offers the pos­si­bi­li­ty of addres­sing the emo­tio­nal level of the cus­to­mer in addi­ti­on to the ratio­nal assessment.

Design has a direct impact on the company's pro­duct sales figu­res, which was con­firm­ed by 86.4% of the com­pa­nies sur­vey­ed.
Design opens up new lee­way in pri­cing, becau­se many cus­to­mers are wil­ling to pay a reasonable pri­ce for high qua­li­ty. This is sta­ted by 84% of the stu­dy par­ti­ci­pan­ts. In addi­ti­on, design pro­vi­des adver­ti­sing argu­ments that bene­fit sales and mar­ke­ting and also pro­mo­te bet­ter sales.

Com­pa­ring the­se state­ments with the respon­se to the ques­ti­on about the impact on com­pa­nies' total returns reve­als a simi­lar trend. Sin­ce design has a rele­vant influence on the for­ma­ti­on of brand iden­ti­ty, brand value and thus on sales figu­res, 69% indi­ca­te that design has an impact on the over­all return.

This is also con­firm­ed by a cur­rent stu­dy by the manage­ment con­sul­tancy McK­in­sey. Here it is shown that com­pa­nies with an inte­gra­ted design stra­tegy were able to signi­fi­cant­ly increase both reve­nues and returns. Over a five-year peri­od, reve­nue growth has increased by 32% and deli­ver­ed 54% hig­her share­hol­der returns (vgl. https://www.mckinsey.de/~/media/mckinsey/locations/europe%20and%20middle%20east/deutschland/publikationen/2018-10-26%20the%20business%20vaue%20of%20design/the-business-value-of-design-vf.ashx, abge­ru­fen am 30.01.2020).

As a result, design also influen­ces the growth of com­pa­nies. For over 80% respond­ents, it is a key fac­tor in ente­ring new mar­kets.
But design also plays a role in the suc­cessful launch of new pro­ducts in exis­ting mar­kets. Over 87% say their com­pa­ny can gain mar­ket share through design.

Rosen Flowmeter Sensor Industriedesign Flussbild Projekter Industrial Design

The EMAT Flow­me­ter is an illus­tra­ti­ve exam­p­le of suc­cessful­ly intro­du­cing a pro­duct into an exis­ting mar­ket.
The ROSEN Group is a glo­bal com­pa­ny spe­cia­li­zing in the inspec­tion and main­ten­an­ce of pipe­lines / pipe­lines.
The joint deve­lo­p­ment of the EMAT Flow­me­ter estab­lished a new line of busi­ness: the non-contact mea­su­re­ment of gas­eous, liquid, vapo­rous and multi-phase media insi­de a pipe­line. And what's more: the flow­me­ter is the first "visi­ble" pro­duct of the ROSEN Group. Our indus­tri­al design hel­ped the com­pa­ny to suc­cessful­ly dif­fe­ren­tia­te its pro­duct from the exis­ting com­pe­ti­ti­on and to make the new tech­no­lo­gy visible.

Measurement technology extreme

You can find out more here.

Rosen Flowmeter Sensor Industriedesign Flussbild Projekter Industrial Design

Howe­ver, the stu­dy "The beau­ty of added value" also reve­als which eco­no­mic, eco­lo­gi­cal and social poten­ti­al has been unde­re­sti­ma­ted to date.
Just over 40% of the par­ti­ci­pan­ts con­sider using design to opti­mi­ze pro­duc­tion pro­ces­ses. Howe­ver, design can and should, if inte­gra­ted into the pro­cess at an ear­ly stage, alre­a­dy crea­te signi­fi­cant added value during deve­lo­p­ment and pro­duc­tion, which can also be pro­ven in figu­res. For exam­p­le, mate­ri­al quan­ti­ties and thus cos­ts can be saved through intel­li­gent pro­duct design. Sui­ta­ble manu­fac­tu­ring pro­ces­ses or com­po­nent opti­miza­ti­on also play an important role. This comes into play during assem­bly, for exam­p­le, when working time and effort are saved. Logi­stics is also an issue here, becau­se trans­port and sto­rage cos­ts are kept low through intel­li­gent con­s­truc­tion of the com­pon­ents or mini­mal housing. Unfort­u­na­te­ly, more than 70% of the sur­vey­ed com­pa­nies do not use design to redu­ce pro­duc­tion costs.

C-Guide ECO Kettenführung für Mountainbikes vorher nachher Industriedesign Projekter Duisburg

And pro­ven tech­no­lo­gy can also be impro­ved. This can be demons­tra­ted with the exam­p­le of the c.guide eco, which was crea­ted in coope­ra­ti­on with the bicy­cle deve­lo­p­ment com­pa­ny B-Labs from Biel in Switz­er­land. The chain gui­de for bicy­cles, ori­gi­nal­ly made of 7 parts, has been redu­ced to a sin­gle com­po­nent. The new manu­fac­tu­ring pro­cess redu­ced pro­duc­tion cos­ts many times over and at the same time increased dura­bi­li­ty. The result of the design deve­lo­p­ment is the ligh­test and at the same time most fle­xi­ble chain gui­de in the world. We were hono­red for this achie­ve­ment with the DESIGN & INNOVATION AWARD.


You can find out more here.

C-Guide ECO Kettenführung für Mountainbikes Industriedesign Projekter Duisburg

The­re is gre­at poten­ti­al in opti­miza­ti­ons of this kind, becau­se com­pa­nies can use design to have a direct impact on the eco­no­my, the envi­ron­ment and socie­ty.
It should be empha­si­zed that sus­taina­bi­li­ty crea­tes pro­fit on all sides.

The out­sour­cing of design ser­vices is ano­ther reason why design is often per­cei­ved as a cost fac­tor and not as a wort­hwhile invest­ment. Purcha­sing exter­nal ser­vices allows you to get an out­side per­spec­ti­ve. Indus­tri­al desi­gners work in dif­fe­rent pro­duct cate­go­ries, which requi­res a high degree of fle­xi­bi­li­ty and helps to offer crea­ti­ve solu­ti­ons.
At the same time, it can­not be over­loo­ked that design is incre­asing­ly being reco­gni­zed as a rele­vant suc­cess fac­tor. This shows the wil­ling­ness of com­pa­nies to signi­fi­cant­ly increase the bud­get for design services.

Challenge capital goods in the B2B area

With regard to clas­sic con­su­mer goods, good design is almost a mat­ter of cour­se today.
Design is also being used more and more in the indus­tri­al goods sec­tor. Becau­se mar­ket struc­tures are also chan­ging in the B2B sec­tor due to glo­ba­liza­ti­on, stan­dar­diza­ti­on and decli­ning pro­duct life cycles, just like in the con­su­mer goods sec­tor.
As tech­no­lo­gy, pro­ducts and ser­vices are beco­ming more and more simi­lar, it is neces­sa­ry to find new instru­ments of dif­fe­ren­tia­ti­on along­side con­ven­tio­nal suc­cess fac­tors such as pri­ce and qua­li­ty.
It is often argued that the­re is no need for design in the capi­tal goods sec­tor, sin­ce pro­ducts here are not con­sump­ti­ve, i.e. not pri­ma­ri­ly geared towards end con­su­mers, but are used for invest­ment or pro­duc­tion.
Here no per­so­nal need is satis­fied but that of a com­pa­ny and is the­r­e­fo­re of a pur­po­seful eco­no­mic natu­re.
For spe­cial ser­vice offers, cus­to­mers usual­ly need spe­cia­list know­ledge. The­re are often spe­cial regu­la­ti­ons on work pro­ces­ses, occu­pa­tio­nal safe­ty or ergonomics.

The gene­ral abili­ties of indus­tri­al desi­gners to think about com­plex ques­ti­ons and topics from dif­fe­rent are­as often make it pos­si­ble to come up with inno­va­ti­ve and crea­ti­ve solutions.

For the Avo­la com­pa­ny, for exam­p­le, we have opti­mi­zed the occu­pa­tio­nal safe­ty and ergo­no­mics of a cir­cu­lar table saw in the con­s­truc­tion indus­try. The clear cover was pre­vious­ly desi­gned to trap saw­dust in the gaps, obscu­ring the saw bla­de from view. Con­cepts for opti­mi­zing the com­pon­ents, sus­pen­si­on and kine­ma­tics could be intro­du­ced as pos­si­ble solu­ti­ons. In addi­ti­on, ide­as for a bet­ter sto­rage of the saw's push stick were deve­lo­ped in order to sup­port the use of the stick and thus mini­mi­ze the risk of acci­dents at work on the saw. The­se chan­ges could be made wit­hout chan­ging the manu­fac­tu­ring method or incre­asing pro­duc­tion cos­ts. The result was a more modern design with bet­ter per­for­mance in the are­as of work safe­ty and ergo­no­mics at a com­pa­ra­ble cost.

Invest­ment goods are often only reques­ted in small quan­ti­ties. As a result, pro­duc­tion is often expen­si­ve and pro­cu­re­ment takes time.
But thanks to tech­ni­cal deve­lo­p­ments in the manu­fac­tu­ring indus­try, small quan­ti­ties can also be pro­du­ced today, which impress with their high design quality.

MySurf Expert Innenleben Produktentwicklung Produktdesign CAD Konstriktion Prototyping 3D Visualisierung Projekter Industrial Design Duisburg

Tog­e­ther with our part­ner Nano­Fo­cus AG, we have deve­lo­ped a high-precision mea­su­ring tech­no­lo­gy micro­scope. Due to the high purcha­se pri­ce of the devices, we were also faced with the chall­enge of desig­ning a housing that could be imple­men­ted for small and medium-sized series.
With the help of alter­na­ti­ve manu­fac­tu­ring methods, we have suc­cee­ded in using high-quality 3D-formed metal com­pon­ents for the design, which appro­pria­te­ly repre­sent the out­stan­ding pre­cis­i­on and value of Nano­Fo­cus AG's tech­no­lo­gy. Com­pon­ents of dif­fe­rent sizes for the various models in the pro­duct line can be gene­ra­ted from a sin­gle tool.
Thanks to the manu­fac­tu­ring tech­ni­que we pro­po­sed, the tool manu­fac­tu­ring cost was redu­ced by over 90%. The pro­duc­tion also con­vin­ced with the excel­lent sur­face qua­li­ty, which can be made pos­si­ble at low cost.

my-Surf Expert Nanofocus Mikroskop Designrecht und Designpatent Produktentwicklung Produktdesign CAD Konstriktion Prototyping 3D Visualisierung Projekter Industrial Design Duisburg


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Pre­vious­ly, we estab­lished that design con­tri­bu­tes to the deve­lo­p­ment of brand per­so­na­li­ty and appeals to users emo­tio­nal­ly.
In the B2B area, too, it is neces­sa­ry to con­vey values and pro­mi­se a ser­vice as a com­pa­ny.
Tech­ni­cal com­pe­tence, inno­va­ti­ve pro­gress and ergo­no­mics are not visi­ble at first glan­ce. Howe­ver, design helps to visua­li­ze the­se pro­files and to demons­tra­te a deve­lo­p­ment.
In addi­ti­on, it is par­ti­cu­lar­ly important to express the spe­cial requi­re­ments of the mar­ket seg­ment even more sen­si­tively through design.
Capi­tal goods are often denied emo­tio­na­li­ty, becau­se in purcha­sing hard facts such as pri­ce and per­for­mance are of pri­ma­ry inte­rest. But espe­ci­al­ly when the tech­no­lo­gy and pri­ce of the indus­tri­al machi­nes are the same, design ser­ves as a distin­gu­is­hing fea­ture and can set it apart from the rest of the mar­ket. And in the end, the buy­er is always a per­son who sees design as a car­ri­er of emo­ti­on.
A sophisti­ca­ted device housed in a rudi­men­ta­ri­ly manu­fac­tu­red metal box is trus­ted less than a sophisti­ca­ted pro­duct. Becau­se a good design shows cus­to­mers that the deve­lo­p­ment pro­cess is matu­re and con­veys qua­li­ty and relia­bi­li­ty. The­se are important com­pa­ny cha­rac­te­ristics, espe­ci­al­ly in the B2B sec­tor, which enable long-term busi­ness rela­ti­onships through trust and reliability.

Design creates competitive advantages! 

If you look at the value of design in a busi­ness con­text, it can be said in sum­ma­ry that design is beco­ming incre­asing­ly important.
We can ans­wer the ques­ti­on asked at the begin­ning of what added value the use of design crea­tes for your com­pa­ny: Design crea­tes com­pe­ti­ti­ve advantages!

Design deli­vers maxi­mum added value when it is inte­gra­ted as ear­ly and holi­sti­cal­ly as pos­si­ble into the deve­lo­p­ment pro­cess.
The poten­ti­al of indus­tri­al design is opti­mal­ly exploi­ted if it is not iso­la­ted or fol­lo­wed in deve­lo­p­ment.
In addi­ti­on to visua­li­zing the uni­que­ness of pro­ducts, design crea­tes a for­ma­ti­ve iden­ti­ty and an unmist­aka­ble reco­gni­ti­on value. Design thus makes a signi­fi­cant con­tri­bu­ti­on to the bran­ding of your company.

Figu­ra­tively spea­king, pro­duct design is your company's cal­ling card.

Posi­ti­ve effects of the design on com­pa­ny pro­fits could be deter­mi­ned both in the con­su­mer and in the capi­tal goods sec­tor and were con­firm­ed by the stu­dy "The beau­ty of added value" empi­ri­cal­ly pro­ven.
Inno­va­tions can take place at various levels. They can be rela­ted to use, pro­duc­tion, mate­ri­al, func­tion or form.
Indus­tri­al design can make con­tri­bu­ti­ons to all of the­se are­as. This was illus­tra­ted with examp­les such as the Nano­Fo­kus micro­scope. The multi-layered effects of design were docu­men­ted here. Design influen­ces pro­duc­tion opti­miza­ti­on and ergo­no­mics, which in turn is reflec­ted in appearance qua­li­ty, pri­ce and hand­ling.
The stu­dy "The beau­ty of added value"  also shows how design works through the opti­miza­ti­on of cost and resour­ce manage­ment on an eco­no­mic, eco­lo­gi­cal and also on a social level. Unfort­u­na­te­ly, the exis­ting poten­ti­al in the­se are­as is still unde­r­used. It is urgen­tly neces­sa­ry to start at the­se points, becau­se mea­sura­ble suc­ces­ses can often be achie­ved here wit­hout gre­at effort.
Design pro­vi­des cus­to­mers with argu­ments for dif­fe­ren­tia­ting pro­ducts through pri­ce, qua­li­ty, form, pro­duc­tion, func­tion and tech­no­lo­gy, as it com­mu­ni­ca­tes clear per­for­mance pro­mi­ses and makes them visi­ble and tan­gi­ble to the out­side world.
In addi­ti­on to the ratio­nal cri­te­ria men­tio­ned, design also appeals on an emo­tio­nal level.
Visu­al mes­sa­ges but also the hap­tic expe­ri­ence of a pro­duct shape the per­cep­ti­on of the user. Howe­ver, lin­ked asso­cia­ti­ons and memo­ries should not be unde­re­sti­ma­ted eit­her.
For some, design ser­ves as a sta­tus sym­bol, for others it enables them to iden­ti­fy with the values and per­for­mance pro­mi­ses of pro­ducts or com­pa­nies. Design is the key fac­tor, com­bi­ning form and emo­ti­on with tech­ni­cal func­tion, taking eco­no­mic frame­work con­di­ti­ons into account.

Pro­jekter indus­tri­al design offers a holi­stic pro­cess for the bene­fit of your brand or your com­pa­ny.
The abo­ve cri­te­ria ensu­re you long-term com­pe­ti­ti­ve­ness.
Our design is the cen­tral and stra­te­gic instru­ment of your cor­po­ra­te manage­ment and the­r­e­fo­re a wort­hwhile invest­ment in your eco­no­mic future.

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