The Appearance of the Press

Eckhard Köbler and his team of nine are the ones who design the unique appearance of Heidelberg presses. We visited Köbler's design studio, and he explained why design is more than just looks.

Presses do not only have to work perfectly; they also have to look good.  In a globalized world, design establishes identity. The form, color, and material of a machine reflect the image of its manufacturer. They allow us to perceive top quality, supremacy, fascination, and passion-the core of Heidelberg products-with our senses.

Mr. Köbler, again and again, Heidelberg products win awards for their design, as did the Speedmaster XL 162 and the press control console Prinect Press Center. Of what benefit is that to Heidelberg's customers?
Köbler: Print shops also have to promote their company image. For instance, when a client visits the printing company for print approval, the workshop becomes a showroom, and production presses become aesthetic flagships. That is when design immediately adds value.

In which way?
Köbler: Ultimately, design parameters such as color, form, and material are codes we use to communicate emotional messages. That becomes obvious when we think of car colors. Right now, white is very popular, although it was long considered dull. It is perceived as pure and futuristic, and certainly lifestyle products such as the Apple iPod have contributed to that. Trend research results also influence the design of Heidelberg presses.

Could you illustrate that by the example of Heidelberg's New_Arc-Design?
Köbler: Our New_Arc-Design reflects the triangle of tension between globalization, ergonomics, and technological progress. The silver shades symbolize high tech. However, this high tech is not supposed to control man, but serve him. That is expressed by the arches-from which the name was derived-and soft curves, for instance at the printing towers. In combination with the geometrical surfaces which partly contrast in color, they look noble and clear, thus creating an operator-friendly atmosphere.

We used cityscape portals as models for the design of the feeder and delivery of the XL 162. Edifices like the Arc de Triomphe in Paris are passageways in the true sense, but also symbols. It is much the same with the Speedmaster XL 162: The two portals stand for input and output. They define the beginning and the end of the value chain. Paper goes into the press unprinted and comes out printed.

Don't your designs get in the way of the engineers?
Köbler: No. Right from the initial product idea, we sit at the same table as the engineers and continuously exchange information with them. Through sketches and 3-D models, we gradually approach the optimal form. On the computer screen, the product often looks perfectly designed. But the foam models on a scale of 1:10 reveal where there are still problems, for example, where the proportions are wrong. Then we redesign the press and build a cardboard model on a scale of 1:1. We design all visible components. Functional criteria such as passive safety and longevity also play a role. For example, we expose the varnish on the press cover to various solvents in order to test the paint abrasion. We also compare the shock resistance and other characteristics of different materials, such as sheet steel and plastic, so quality remains affordable in series production.

What is the role of users?
Köbler: A very important one. We want to make it as simple and safe as possible to operate the press. Therefore, design always follows ergonomics.

The jog wheel of the Prinect Press Center is a good example. We included it as an additional control element, so the user can turn the wheel instead of clicking the screen several times to regulate the air.

Or consider the design of the printing-unit handle: to prevent the handle from sticking into the back of the user, we have curved its lower end. Besides, all operating points are easy to find, because the layout is the same throughout all press formats. That particularly helps stand-in printers operate the press correctly.

How long does it take for you to develop a new product such as the XL 162 or the Prinect Press Center?
Köbler: It takes roughly four years to complete a project. Normally, we handle three or four projects at the same time, plus our day-to-day business. Sometimes, that makes you feel like an architect at a major building site.