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Just published in the new issue of Kommunikationsmanager.

„Über Marke, Sensorik und alles, was dazwischen liegt“
On branding, sensory experience, and everything in between: Crossmodal orchestrations as a core potential for brand experiences.

Der Artikel von Michael Nouri und Prof. Alexander Luckow von der Wilhelm Büchner Hochschule (Kommunikationsdesign) beleuchtet crossmodale Inszenierungen als Potenzial für Markenerlebnisse, indem er Synästhesie und multisensorische Verknüpfungen zwischen Farben, Gerüchen, Klängen und Texturen erklärt . Diese sinnlichen Kopplungen, wie der Maluma-Takete-Effekt oder Beispiele von Aperol und Nivea, sind biologisch und kulturell verankert und fördern emotionale Bindung sowie Wiedererkennung von Marken um bis zu 40 Prozent . Historisch wandelte sich die Wahrnehmung von romantischer Synästhesie zur industriellen Fragmentierung, ehe neurowissenschaftliche Erkenntnisse wie Damsios somatische Marker eine Renaissance einleiteten . Praktische Anwendungen zeigen Marken wie Apple, Hermès oder Singapore Airlines, die visuelle, haptische und olfaktorische Elemente kohärent abstimmen, während Warnungen vor KI-bedingter Standardisierung partizipative Erlebnisse fordern . Der Text, ein Auszug aus ihrer kommenden Publikation „Wie kommt die Marke in den Kopf?“, plädiert für überraschende, mitgestaltbare Sinneswelten statt banaler Perfektion.

Kommunikationsmanager 04/2025 – Jetzt entdecken

The 1987 Japan Railways (JR) Group logo, created post-privatization of the Japanese National Railways (JNR), was designed by Yoji Yamamoto, Yusuke Kaji and Kazumasa Nagai. The Nippon Design Center (NDC) and Dentsu collaborated on the project. The logo features a stylized "JR," representing the initials of Japan Railways. The design is sleek, modern, and has become a recognizable symbol associated with Japan's extensive railway network. The use of bold, simple shapes in the logo reflects a sense of unity and efficiency. In 1987, the national railways were privatized, and the JR logo mark was produced.

It’s not just a design object — it’s a physical archive of real-world bookbinding. This isn’t something you’ll stumble on while scrolling Amazon. This belongs in serious studios, design libraries, and collector workflows.

This is Hornbach’s theatrical odyssey, and trust us, you are not ready #GoodAdsMatter After their ad “The Square Meter”, Hornbach once again pushes the boundaries of what advertising can be, turning the everyday trials of DIY into a theatrical epic of chaos and victory with their latest spot, titled ‘No Project Without Drama.’ A vast theatre stage was built from scratch, amplified by a 30-member choir whose every movement echoed the protagonist’s struggle. Storm-lashed seas, leaking pipes, collapsing walls, all unfolded live through practical builds. Nothing was faked, every detail was handcrafted. From visuals to musicals, indeed, the result is a surreal. We see a larger-than-life world where humour, honesty, and sheer craft come together to create magic. You can almost feel the sweat, the effort, the orchestration behind every beat. 𝗟𝗶𝗻𝗸 𝘁𝗼 𝗼𝘂𝗿 𝗵𝗮𝗻𝗱𝗰𝗿𝗮𝗳𝘁𝗲𝗱 𝗻𝗲𝘄𝘀𝗹𝗲𝘁𝘁𝗲𝗿 𝗶𝗻 𝘁𝗵𝗲 𝗯𝗶𝗼! Country: Germany Year: 2025 Brand: @hornbach_de Agency: Agency Heimat TBWA @heimattbwa Head Creative/Co-Founder: Guido Heffels @guidoheffels Creative Director: Luis Jähner @luis_jaehner Account Director: Lea Böhm Senior Producer: Kerstin Heffels @tvkerstin Production Company: TEMPOMEDIA @tempomedia.de Co-Production Company: CANADA @canadacanadacom Director: Lope Serrano Sol @lopeserranosol Executive Producer: Vera Portz @veraportz & Victor Mata Noguera @victormatanoguera Producer: Birgit Damen Cinematographer: Niklas Johansson @nickejohansson_ Assistant Producer: Clemens Mosick clemensmsck Line Producer: Tadas Vaitmonas Production Designer: Nathan Parker @nathanvonparker Stylist: Charlotte Chadwick @charlotteemiliachadwick Hair & Make Up: Aurelija Krebsaitė @aurellijaa Choreographer: Angela Boix @angibd Cast: Felicia Spielberger @feliciaspielberger Music/Sound Design: Supreme Music @suprememusicglobal Creative Lead: Florian Lakenmacher Composition: Sebastian Schütze Sound Design and Mix: Markus Stemler Choir Arrangement: Bogdan Dück Producing: Julia Moya Orchester: Berlin Music Ensemble at Emil Berliner Studio, Berlin Recording Engineer: Juan Moreno Sound Mix: Fridge Audio, David Arnold @fridge.audio, @david.arnold.fridge

Georges Huel (1930–2019) was a renowned Canadian graphic designer, born in Montreal, whose career spanned advertising, branding, and cultural projects. He founded his own studio in the 1960s and became a pivotal figure in Quebec's modernist design scene, emphasizing simplicity, symmetry, and functionality. Huel's most iconic work is the emblem for the 1976 Montreal Olympics (Games of the XXI Olympiad), co-designed with Pierre-Yves Pelletier.

Commissioned in 1972 by Mayor Jean Drapeau—Huel's longtime friend—without an open competition, the logo bypassed global submissions to favor a local talent. Unveiled in 1975, it ingeniously integrates an "M" for Montréal with the five Olympic rings: the rings form the M's curves, evoking a victor's podium, a stadium track, and medal ribbons. Rendered in solid red Univers typeface, it symbolized unity and Quebecois pride amid the Games' historic first for Canada (July 17–August 1, 1976).

Huel aimed for "clean and neat" efficiency, building on predecessors like Mexico '68 and Munich '72. The design's grid-based standards manual ensured precise reproduction across medals, posters, and venues. Though the Olympics faced financial scandals, the logo endures as a Canadian design triumph, influencing global branding and even the beaver mascot Amik (also under Huel's oversight). Huel later reflected on its "obvious" genius, regretting it wasn't used earlier.

Chris Yaneff, a Canadian graphic designer, crafted the iconic Commodore logo in 1965, originally for the company’s typewriters and calculators. This stylized "C" with a swallow-tailed flag, affectionately nicknamed "chicken lips," featured red and blue colors symbolizing innovation and nostalgia. Its geometrically simple design, with a slight ellipticity, scaled effortlessly across products. The logo gained legendary status with the Commodore 64, launched in 1982, which sold over 17 million units. Early "silver label" C64 models showcased a silver version, while later iterations adopted the classic red-and-blue scheme, becoming a hallmark of 1980s computing culture. Despite Commodore’s bankruptcy in 1994, the logo’s legacy endures, preserved by trademark holders and recreated by retro enthusiasts. Yaneff’s other works remain largely undocumented, making this design his enduring contribution to tech history.

Photo Credit: Commodore International Historical Society

John Massey (1931–2019), a Chicago-based graphic designer, significantly influenced modernist design, blending Bauhaus and Swiss International Style principles. After studying at the Chicago Academy of Fine Arts and earning a BFA from the University of Illinois in 1954, Massey worked at the Container Corporation of America (1957–1983), founding its Center for Advanced Research in Design. He taught at UIC (1984–2000) and received an AIGA Medal in 1994. In 1968, Massey updated Herman Miller’s iconic “M” logo, originally designed by Irving Harper in 1946, pairing the bold, French-curved “M” with an all-lowercase Helvetica wordmark, replacing the earlier serif typography. This modernist refinement aligned with Swiss Style aesthetics and lasted nearly four decades. Massey’s work, including posters for Herman Miller’s Eames Soft Pad Group, reinforced the company’s visual identity. His philosophy, “Be classical or extraordinary,” shaped his impactful designs, influencing later Herman Miller rebrands in 1998 and 2024, which echoed his modernist approach.