ROTWILD Insights: Björn Zedlick
Attractive design has always played an important role in the ROTWILD DNA. Our demands on its implementation are correspondingly high. The fact that various bike designs have been awarded design prizes in recent years is not only a nice confirmation for the designer. It also shows that our product philosophy is causing a sensation outside the bike industry. Reason enough to take a closer look at the design process.
What qualifications/training do you have?
I studied industrial design at the Muthesius Academy of Fine Arts in Kiel and was already very busy with photography and graphics. After my diploma, I was employed at BMW in Munich for two years and then started my own business. As a student I wanted to finish my education as quickly as possible, now I enjoy the fact of never being able to learn and control everything more and more. The questioning, the uncertainty and the learning keeps the work exciting and the mind fresh.
Do you specialize in product design or do you also work as a designer in other areas of design?
In my opinion, really good design goes hand in hand through the disciplines. I see it more holistically and therefore have respect for all areas of the process. In the past, I was satisfied with good sketches and renderings in order to save my contribution as successful. Today I see the whole process and classify my work accordingly. With respect comes interest in the other areas. Thus, some of my clients I also support in the areas of photography, catalog design, web design, texts and more. Ideally, I am involved in the development from the beginning, so that design is not a shell, but becomes part of the product. Such an inclusive process appeals to me more than briefly imposing my style on a thing and then turning away again.
How long have you been working for ROTWILD and how did the collaboration come about?
I think that was in 2014. A good friend from BMW times, who worked with ROTWILD for Porsche Design, brought me on board at that time for the product graphics. Those were the first E-MTB prototypes. Since then, Peter always calls me when new bikes are on the agenda.
As a designer, what do you associate with the ROTWILD brand? Is there anything that particularly fascinates you about it?
What fascinates me is that I believe the brand. My feeling was determined from the outset by the impression that here are girls and guys at work, who have extremely Bock on damn good bikes. The brand has grown from the need, not from a brand a need. I think that is the fascination of all good brands, you take the why from them, without long marketing text.
What intention do you associate with a new design and what does it stand for?
In short, my aspiration is to achieve something better with less. My intention is not that someone sees a new bike and celebrates the design. I want people to celebrate the bike and the necessary design steps to do their job in the background.
What is your approach when it comes to a new product design? What inspires you, how does the process begin?
At the beginning, I get as much input as possible from Peter and the team: What is the goal of the new bike? Who should it appeal to? What should it differentiate itself from, if anything? When we designed the R.375, the premise was clearly to portray a more sinewy bike, compared to the massive R.750. The concept of the slightly edgier athlete was to be communicated in the product graphics. Now that the new G.375 is out, on the other hand, it was a matter of integrating the bike into the existing R.375 language and differentiating it primarily through color. Sometimes, however, the process begins with a new inspiration or idea that is then adapted to the model. Such inspirations occur completely unpredictably. Sure, media like Instagram or blogs are conducive, but just as often a spark ignites while strolling through town or country. This part of the creative brain is never completely off, which is both a curse and a blessing. You then have to take the time at the crucial moment to respond to it, and sometimes also explain to your fellow human beings why the brief interruption is just indispensable (laughs).
How long does it take to complete a new bike design?
Product design definitely takes longer, as there are many more parameters involved here. At ROTWILD, I've been less involved in the design of geometry and surfaces, but more in the product graphics. My approach in the long term would be to combine both more, less painting and prints and instead let the bike itself speak. The idea for a new design can go very quickly, sometimes taking only minutes, the exciting part is then the implementation to get as close as possible to the original vision in reality. This can take weeks and if it's done really well it seems so logical in the end that you can't even comprehend the long process.
What are the challenges in doing so?
The implementation in series. Often, designs that appear refined and simple are difficult to realize in series production and must then be adapted accordingly. In the best case, a designer is not able to impose a theme on the product, but to let a logical theme grow out of the product, which then radiates credibility in itself - and for the brand.
Are there core elements in the design that are an absolute "must have"? Things that run through like a red thread?
Repetition. If elements are repeated, or at least indirectly connected with each other, then they appear more aesthetic than a disorganized pile of individual design parts. At least that's my attempt to explain it (laughs). In case of doubt, nature always has the best solutions, you just have to look closely.
The topic of coloration: What criteria are used to determine the colors for the respective models?
This actually varies from bike to bike. Some models are given a ROTWILD red to clearly assign them. However, for some time now we have been increasingly turning to variations such as neon or metallic shades. Other models, mostly those that are a variation of an already introduced design, are characterized by more variety. We are just becoming bolder in this respect and are finding that ROTWILD customers are definitely ready for more differentiated color worlds than just red or black.
On the R.375 models, there is a completely new design element in the form of "bubbles". What is it all about?
Originally, my design for this bike was characterized by a gradient of the painted color into the black of the carbon frame. However, the implementation presented too great a challenge in production. So we looked for alternative looks and finally arrived at this point grid. The final design is the result of teamwork, brainstorming and feasibility.
In which direction will the ROTWILD design develop further?
Less, but better. I love this motto by Dieter Rams. If we manage to put down a bike with less graphic volume that is just as dynamic, agile, powerful and elegant as its ancestors, then we'll be ready for the next generation.
