Jörg Stauvermann

I grew up in a household where design and architecture were always at the forefront. My father is an architect and took us on holidays and school trips to famous buildings and special exhibitions from an early age. As a child, I used to draw Lego houses and was very knowledgeable when it came to drawing views or floor plans of houses. This laid the foundation for my design work. Since my mother and sister also worked in my father's office, there was a lot of talk about work – i.e. architecture – and that was also the reason why I wanted to become a designer and not an architect, because it annoyed me a lot at school that it was all about architecture. And that's how I became more interested in design. After training as a cabinetmaker, I studied in Essen, Copenhagen, Paris and Cologne.

With my design studio, I have been working for 25 years in the fields of corporate design and exhibition design, exhibition conception, editorial design and copywriting. In between, I also published a satirical newspaper for 10 years. I was responsible for all topics, texts and graphics as well as the entire layout of this newspaper. Many different artists contributed to it, which led to numerous joint projects.

For me, design is primarily communication. Communication between senders and receivers. The senders are my clients, whom I advise in all kinds of areas. Of course, these are often design-related topics. But design, i.e. the pure design of graphics or products or even interior design, does not end with formal aspects. In my view, the design of a service, the design of one's own behaviour and the design of how customers are addressed are also very important aspects of design: the consistency of designed projects. This is particularly evident in corporate designs or exhibitions, because they bring together a wide variety of disciplines.

My work focuses on corporate design and exhibitions. I particularly enjoy doing this when different disciplines come together. So when the job involves everything from designing a logo to creating the music that might be played in the salesroom, to the architecture or the design of clothing. My favourite part of the job is actually developing a colour and typography concept, because I believe that this is where the central elements that are extremely important for everything else come into play.

My favourite design is Arne Jacobsen's hotel in Copenhagen, the SAS Hotel. Because it has been designed comprehensively and consistently. From the cutlery to the building envelope, from the decor on the curtains to the furniture, from the lamps to the scents and the carpets. Arne Jacobsen thought everything through completely.

The first job I got when I was self-employed was to design an exhibition about 400 million years of Earth's history.

My favourite material is wood. I don't have a favourite platform. My favourite technology is actually anything that can be made by hand.

There is no specific time. It is more a certain approach that makes me creative. I am very observant. Every day, I see things in my environment that influence my current work. I read a lot. I do a lot of research, and during these activities, connections with the current assignment emerge. These connections are necessary to get the creative process going.

In my opinion, the most important thing for all design processes is that they are based on a robust concept. This concept is the starting point for all further work. If the concept is good and well thought out, all subsequent activities can be developed very effectively, economically and, above all, in a consistent design manner.

That depends very much on the subject matter. I have a wide variety of clients and a wide variety of tasks, and therefore a wide variety of topics. It starts with comics for children, moves on to exhibition design for a football club, continues with the corporate identity of an architecture firm, and doesn't end with an exhibition for a memorial site on the topic of Nazi ‘euthanasia’ or the yearbook for the 100th anniversary of a golf club. As a result, my emotions range from intense joy to a determined commitment to a well-thought-out, educational concept.

Here, too, it depends very much on the subject. Most of the time, it's pride, followed very quickly by great joy, and thirdly, it's confidence that new projects will continue to develop from this.

If we knew that, everything would be much easier. I believe that a design is successful when it can be understood quickly and has at least a little joke or creative twist. And when it gives people who see it a moment of joy, amazement, learning or understanding. I also believe that successful design is only possible when you put yourself on the same level as the consumer and present particularly difficult issues in a simple, and if possible, positive way.

Distinguishing good design from bad design is not an easy task, especially if you are a designer yourself. A good design has internalised the aspects I have already mentioned; the design form or look and feel is not that important in the end. This is often a matter of taste. What is more important is that everything fits together. The rest then almost takes care of itself.

The responsibility of a designer is more important than one might initially assume. On the one hand, many aspects of society converge today, making society more complex, and on the other hand, issues have become so diverse and problematic that designers have the task of breaking down barriers to communication. In this respect, it is a very important and central task in the transmission of important information that it is well designed and consumable. On the other hand, sustainability is now an integral part of everyday work. The way things are produced, the choice of materials, the logistics behind the scenes, the form of cooperation, the choice of vehicles to get to customer appointments: all of this plays a role. The role model function and self-image of the designer are also very important here: customers can recognise and learn how things can be done. What possibilities exist for sustainable and environmentally friendly behaviour. And, of course, what impact they have on their own customers. Credibility is not achieved by recognising problems, but exclusively by taking action.

Despite all the hype surrounding artificial intelligence (AI), I believe that the most important tasks performed by designers can still be done by humans – and, above all, should be. The empathetic ability of humans to analyse and identify problems correctly and use their own background and knowledge to develop good solutions that are primarily based on a humane approach will ensure that the profession of designer continues to exist. However, I believe that it will be very challenging for the younger generation to develop their own language, as this is becoming much more arbitrary, uniform and interchangeable due to the prevalence of prompted examples.

The last exhibition I designed is currently on display at the Verkehrsmuseum in Dresden. It is called ‘On the Road Again! The World of Truckers’ and deals with the life and work of truck drivers with the aim of promoting greater understanding of this industry. The next exhibition I will be designing or conceiving has not yet been decided.

I draw inspiration for my work from my immediate surroundings, e.g. from conversations with my family, friends and acquaintances. Travelling to places near and far also constantly offers me new perspectives on design and how to approach it. Through research in books, museums and on the internet, but also by listening to music and watching films or series, I gain a wealth of impressions that I use and incorporate into my work.

I would describe my style as reserved, precise and clearly defined. When it comes to brand images, a touch of humour, interpretation of traditional patterns or structures also play a role. When it comes to exhibition concepts, it's different. Fun and humour – if the subject allows – are at the forefront. Because I am always reminded of a quote – I think it was Wilhelm Busch – who said, ‘What you mean seriously is best said in jest.’ And that actually symbolises the approach to communication work in my office.

I live in Germany on a small island in the North Sea. On the one hand, this means that many of my clients who do not live on the island enjoy coming to the island for appointments. Germany has a very good heritage in the creative field with the Bauhaus and the Ulm School. Many well-known designers who have shaped the world have also left their mark here. On the other hand, however, Germans are not as naturally attuned to design aspects as, for example, the Scandinavian population. There is no strong sense of self-awareness here when it comes to evaluating interior design, for example. Many people in Germany are more influenced by corporations such as IKEA and less by a deep understanding of design. That's why I always try to promote how you can create good quality with simple means – both in a professional and private context.

As a freelance creative director, I work predominantly on my own, which means I frequently interact with other companies, artists and concepts. I often collaborate with colleagues from the fields of science, history, culture and economics. This usually results in working groups that come together temporarily for a project. But these partnerships are also helpful for later projects, and new formations and networks based on trust are created. I have known many of my colleagues for a very long time and always come back to them.

In my opinion, it is essential for companies to engage intensively with the topics of design, communication and the impact of design. I also consider it very important for companies to have their own design strategy. In order to find the right designer, it is important that the company has already developed a strategy or at least written a kind of white paper setting out specific topics and requirements for a potential design agency. This lays the foundation for approaching a specific studio with a particular focus, special expertise or comparable projects. This makes it easier to find the right design agency or designer. Recommendations from friends in business or employees are also a good way to find the right studio.

In my studio, the design process almost always takes place in a similar way. It doesn't matter what kind of project it is. It always starts with a detailed discussion about the topic, the task and the time and cost framework. I then prepare a detailed quote in which all aspects of the task are presented chronologically and accompanied by a cost estimate. I then always start with a concept, which forms the basis for everything that follows. The concept is the backbone for all the work that is then carried out. Once the concept has been approved, all the tasks at hand are completed.

The ant by Arne Jacobsen, the Safari chair by IKEA, the wooden figure by Alfredo Häberli for Berendsohn, the inlay work from the North Frisian Islands by my father-in-law Welf Schiller, the poster for the Sam Francis exhibition at the Bundeskunsthalle Bonn in 1990.

My day begins with a delicious breakfast, sometimes followed by a walk with our dog. The morning is spent working on current projects. There is a nice long lunch break. In the afternoon, I reserve time for project research and client appointments before heading to the beach in the evening.

I think the most important thing is not to be afraid. Just try everything, embrace new and unfamiliar things, learn something new every day, and give yourself time to develop your own creative language.

The great advantage of being a designer is that you are responsible for the final design of a project at the end of a content or economic chain. This gives you the opportunity to create something truly special, whether it's a new idea or something based on a long-established profession, simply through the quality of your work. One disadvantage of the profession is perhaps that you are always at the end of a project. If there is any money left over, it can be spent on the designers. However, this is often not the case, and savings are made in this area. The motto is: ‘My brother-in-law's son can do the same thing for a crate of beer.’ A second disadvantage, which I would rather see as an opportunity, is that designers are sometimes involved too late in a process. I have often managed to come on board in time to work with those responsible to develop solutions at an early stage that are beneficial to the project.

A golden rule could well be: ‘To build a ship, you need more than just wood.’ A second rule, which is personally very important to me, is that you should do everything you do with joy and enthusiasm.

Empathy. A willingness to listen. Developing and presenting ideas. Perseverance. Being optimistic and staying optimistic. Getting things done.

In my daily work, I naturally use a wide variety of programmes, including graphics programmes, photo editing programmes, drawing programmes, word processing programmes, internet browsers, email programmes, note-taking programmes, video conferencing programmes and telephone programmes. In addition, I use a lot of craft materials, from cardboard and cutting mats to bookbinding tools, drills, sanders and saws. I also frequently use my surroundings to incorporate them into presentations or models. For inspiration and information, I use a wide variety of trade magazines, books, of course, lots of comics and graphic novels, and I exchange ideas with artist friends.

Structuring a project is one of the most important tasks in day-to-day business. New projects differ greatly from ongoing projects or existing customer relationships. New projects start with a period of 4-8 weeks to develop a concept. Depending on the topic, this can take longer.

Here, too, it depends greatly on the project. There are exhibition projects or book projects that take a year and a half. There are visual identities or visualisations that take six months. There are competition entries for major exhibitions or similar events that take three weeks to complete before presentation. As I said, it depends very much on the task at hand and often on the client's specifications.

There is no single most important piece of professional experience, but one that has had a strong influence on me is that I try never to go into a meeting unprepared. Despite my extensive experience and expertise, I believe it is absolutely essential to be respectful and well prepared when communicating with others in order to engage with them on an equal footing.

My clients come from a wide range of industries, including agriculture, culture, museums, banking, retail, sports, consulting, publishing and architecture.

I enjoy developing concepts the most, as it allows me to combine content and design and tailor my work to the topic, the client or the project in question. Only when I have the right idea, the truly brilliant idea, and realise that it is robust and can be applied to the required and requested formats, am I confident that I am on the right track, and I am usually very happy about that.

At the moment, I am working on the visual identity for an architecture firm, a mailing for a printing company, advertising measures for a local bank, and a large-scale campaign for a German specialist publisher.

I frequently work in teams when the project requires it, drawing on a wide range of disciplines from illustration to writing, science to programming. However, I usually create designs and concepts myself, covering everything from logos to decoration, screen design to exhibition graphics. I then work with many partners who implement these designs later on.

I am currently working on an exciting project. It involves designing teaching materials for the Frisian language, which is spoken on the islands of Föhr and Amrum. This language is primarily passed down through families and is spoken by a small minority in Germany, exclusively on these two islands. On behalf of a foundation, I have developed teaching materials for the first, second, third and fourth grades, as well as a songbook to keep the language alive and, above all, to make it fun for children. The language is still taught in primary schools on the islands.

You can always reach me online, by phone, by email or in person. My contact details are already known. I am always delighted to receive new project enquiries.

I think it's extremely important that the profession of design continues to evolve in such a way that it can have a positive impact and be seen as something created by people. The development of AI may lead many people to think that they can do it themselves or simply leave it to computers. But I believe that this will hardly be possible, because the human aspect, perception, personal exchange, experience, special events, joy and fun – all these things can hardly be combined by a computer in such a way that a coherent overall picture emerges. There are certainly beautifully designed examples that are purely computer-generated, but hopefully it will always be humans who decide why a design is personal, warm, cheerful or impressive. And that's why I really hope that the next generation doesn't have too much respect for these technologies, but simply learns to use them to develop their own ideas.