The basic features of Deutsche Lufthansa's present corporate



image emerged almost 45 years ago. It was created by Otl Aicher,



one of the principal figures at the now legendary Hochschule für



Gestaltung in Ulm. Another work by Aicher that spoke to the whole



of Germany, as it were (and still does, in rudiments), is the 1972 corporate



image for the Zweites Deutsches Fernsehen. The corporate



image he created for the Olympic Games in Munich, which made



an essential contribution to the ambience of the event, has also remained



memorable.



Since the ideas developed by Aicher and his colleagues were



implemented in the early sixties, the airline has been seen worldwide



as a perfect example of a consistently developed corporate



image. Aicher based himself on ideas from the Deutscher Werkbund



and took the company's entire inventory into consideration:



'house colours, pictorial and typographic logos, typeface, graphic



and typographic rules and standards, photographic style, quality



of support materials, packaging, exhibition systems, architectural



characteristics, forms (design) of interior furnishings and equipment,



style of work and service clothes.'



As well as Otl Aicher, numerous other product and graphic designers,



fashion designers and advertising and marketing agencies



have worked for Lufthansa. They include Otto Firle, whose ideas



led to the crane logo, Hartmut Esslinger and his company frog



design, Priestman & Goode, Müller Romca Industriedesign, Don



Wallance, Wilhelm Wagenfeld, Hans Theo Baumann, Nick Roericht,



Wolfgang Karnagel, Topel & Pauser and the bhar design practice,



fashion designers Uli Richter, Ursula Tautz and Werner Machnick,



Jürgen Weiss, Gabriele Strehle and the Jobis company as well as



the agencies Zintzmeyer & Lux, the Peter Schmidt Group, Ogilvy &



Mather, Young & Rubicam, Spiess/Ermisch/Abel, Springer & Jacoby,



McCann & Erickson and Fanghänel & Lohmann.



An exhibition of the same name at the Museum für Angewandte



Kunst in Frankfurt deals with the same subject as the book.



The internationally known architecture and design historian



Volker Fischer was deputy director of the Deutsches Architekturmuseum



in Frankfurt am Main for over ten years. Since 1995 he



has built up a new design department in the Museum for Applied



Arts in Frankfurt; in addition to his museum work he teaches history



of architecture and design at the Hochschule für Gestaltung



in Offenbach. Volker Fischer is already represented in Edition Axel



Menges by books on Stefan Wewerka, Richard Meier, the Commerzbank



in Frankfurt by Norman Foster and Hall 3 of Messe



Frankfurt am Main by Nicholas Grimshaw.