Pressenetz According to Beat Lauber, Pressenetz inventor and head of NZZ subsidiary Freie Presse Holding, the idea of an article exchange for regional print media, better known as Pressenetz, has little chance of being realized. The revised version envisaged using the SDA distribution network to facilitate access for interested print media. However, any expansion of SDA's range of services would require the approval of the publishers who own the agency. "It is probably impossible to get the publishers on the same page here," estimates Lauber.

The NZZ am Sonntag (NZZaS) was first published on March 17, 2002. Since then, it has been an important part of the Sunday newspaper market. Editor-in-Chief Felix E. Müller discusses where his paper stands today and where it is likely to be tomorrow. WW: The SonntagsZeitung (SoZ) just turned 20, and the NZZaS is turning 5. How do you assess the competitive situation between the two publications?Felix E. Müller: I believe our arrival has been good for the entire Sunday newspaper market. The SoZ was spurred on to try harder, and in the beginning, it significantly improved its performance. Our entry into the market also led to an expansion of the Sunday market on both the readership and advertising sides.WW: What is the NZZaS’s financial situation like today?Felix E. Müller: We turned a profit for the first time last year, which I personally consider a very good achievement. WW: Of the three national Sunday papers, the NZZaS had by far the highest growth rate in advertising volume at 13.3 percent. However, one-third of that consists of cyclical job ads. What would the situation look like without them? Felix E. Müller: Without the job ads, we would still have been in the black, though only just. This makes one thing clear: we’re already meeting the criterion set by Tamedia CEO Martin Kall, which states that a newspaper should be profitable even without job ads. WW: Was this part of the business plan? Felix E. Müller: No, we reached the break-even point about two to three years earlier than expected. And we did so with just over 50 percent of the planned costs. WW: Assuming the next few years go as well as 2006 did, how long will it take to achieve a return on investment? Felix E. Müller: About six to seven years. WW: In 2005, Mach Basic last reported an increase in readership across all three Sunday titles. Since then, readership has stagnated at 2.25 million people. Has the saturation point been reached? Felix E. Müller: Yes, I do believe the era of major growth is over. With three national titles and a reach of 2.25 million readers, the Sunday market is very well served.WW: In terms of readership, the NZZaS is relatively stable, while the SoZ seems to be on the decline. The SonntagsBlick (SoBli), on the other hand, is facing challenges elsewhere. Does that work in your favor? Felix E. Müller: We don’t necessarily feel the impact of whether the SoBli is doing well or not so well, because it targets a completely different audience in the readership market. For us, the SoZ—the middle-of-the-road newspaper—is more important. When it loses readers, we tend to gain them, which is naturally positive from our perspective because it narrows the gap with the SoZ.WW: 55 percent of NZZ readers don’t read the NZZaS. That’s untapped potential. Felix E. Müller: Conversely, you could also say that we’ve primarily grown outside the NZZ readership. WW: But do you know why exclusive NZZ readers don’t want the NZZaS? Felix E. Müller: Not really. We suspect that for many, the NZZ weekend edition—with its in-depth supplements—is sufficient. WW: That would certainly call for additional marketing efforts. Felix E. Müller: Of course, we keep trying, but that’s not where our main focus lies at the moment. We’re more focused on expanding our cooperation with regional publications. For example, we’ve developed an attractive bundle with the ZürichseeZeitung that we’re now offering.WW: A new MA Leader will be published soon. According to the 2005 study, however, the SoZ and NZZaS are roughly evenly matched among the “Leaders” and “Top Leaders,” with the SoZ holding a slight lead. Do you expect any further shifts in favor of the NZZaS? Felix E. Müller: In the long term, yes, but here, too, we’re entering a phase of smaller steps. After all, together we hold a market share of 80 to 90 percent in this segment. That’s one of the hard facts that explains the significance of these publications in Switzerland’s media market. After all, if so many leaders read these publications, they in turn can set the agenda or influence the discussion among them. WW: At the beginning of the year, you were thinking aloud about regional splits. Felix E. Müller: Yes, that was a thought experiment. Opinions differ on whether regional splits make sense from an economic standpoint. What concerns me, however, is the regional publications’ push toward the Sunday market; for them, this is a lifeline in a valley of tears—that is, declining circulation. I’m convinced that this won’t affect us much from a journalistic standpoint. But if the regional papers were to form alliances in the advertising sector, we might certainly feel the impact. WW: The Sunday edition of the Südostschweiz already exists, but so far you’ve hardly felt its impact on your readership.Felix E. Müller: That’s correct; from a journalistic standpoint, I don’t have any real concerns. However, we aren’t particularly strong in the Südostschweiz region either. But I have the feeling that Mr. Lebrument won’t be able to sustain his seventh edition at this level in the long run; he urgently needs Mr. Wanner to form a Sunday advertising alliance with him.WW: The Mittelland Zeitung recently announced that it will launch its seventh edition. Will your regional splits now become a reality? Felix E. Müller: No, for now that’s just an idea that needs to be discussed critically once again. WW: How will you react? Felix E. Müller: We’ll wait and see. That’s what we did with the Südostschweiz as well. Ever since I saw how low the advertising volume for that publication is, I’ve been able to view Wanner’s Sunday edition with greater composure. The alarm bells won’t start ringing for me until there’s an advertising merger among the regional papers.WW: One last question: Markus Spillmann has been editor-in-chief of the NZZ for about a year. What has changed for you?Felix E. Müller: From my perspective, nothing fundamental. As long as the NZZ am Sonntag continues to perform so well, the NZZ organization probably doesn’t feel the need to intervene on a large scale. There are other areas within the NZZ organization that require more attention. Interview: Markus Knöpfli

Stand construction Corporate identity in condensed form: This is what a stand presentation can be if it is specifically designed as an image carrier. Of course, it is possible to achieve an independent trade fair presence by equipping classic rental stand walls. However, this is usually only possible to a limited extent because the external form is predetermined. The scope for action is often limited exclusively to the design of these framework conditions, which quickly leads to arbitrariness and interchangeability. The spatial restrictions mean that the presentation lacks individuality, which can hardly be compensated for by any amount of creativity in the design of the stand space and its "display". The question of budget is therefore preceded by a discussion of the objectives to be achieved with a stand presentation: Is it purely about product presentation, or should a corporate and brand identity also be conveyed? Is the focus on short-term sales success or sustainable image cultivation? The two are not mutually exclusive, but ideally reinforce each other.
A question of styleWith a combined objective, a trade fair appearance becomes a living corporate and brand identity: the stand architecture stages the corporate design three-dimensionally, the stand personnel represent the corporate behavior in their behavior, the placed messages and communication elements form the corporate communications. And it all comes together to create a well-rounded platform for the product experience.
These fundamental decisions about the trade fair presentation have a direct impact on the style of stand construction. Partitions stand in contrast to stand construction systems or even conventional stand construction in the workshop. Most exhibition stands are composed of prefabricated elements. Due to the variety of support systems, variations and accessories, individual design is possible. For a completely free structural design that allows you to play with materials and lines, you may need to work with specialized craftsmen.
There is a general trend in stand construction towards the use of textiles, foil plotting and mobile and modular lightweight construction, which give the stand a (budget-friendly) lightness. The area in which a stand is to be used must be defined carefully and at an early stage. The same applies to the objective - whether the stand is to be designed as an indoor or outdoor solution or for both. It is important to ask whether the stand is to be produced for POS use or integrated into a trade or public exhibition or a regional trade show. It should also be defined at the design stage whether the stand will be used as a mobile road show, for a multi-day use at a trade fair or as a permanent exhibition. It should also be clarified whether a stand-alone solution or an island stand (freely positioned stand that can be designed on all sides) or a row stand is to be designed and developed.
This is all the more important because a trade fair appearance is usually not a one-off event. The materials should therefore be selected for modular multiple use so that they can be adapted to the different locations and stand areas.
Creating spaces and zonesFurther questions arise when it comes to the layout of a trade fair presentation. For example, which zones the trade fair concept envisages. It is then necessary to check whether meeting zones, audio/video areas, lounge/bistro areas (with kitchen), exhibition/presentation areas (with storage), show areas, etc. make sense. The location must also be examined in terms of the infrastructure required for the trade fair presentation - i.e. whether water, electricity, communication connections, lighting, sound systems, furniture, etc. are available in sufficient quantities. The stand design should also make optimum use of three-dimensionality and include visitor guidance within the stand.
It's the message that countsAt the end of the day, however, stand construction also depends on how the space comes alive, how it affects visitors so that they take positive impressions home with them. Without an event and a good encounter, the best trade fair stand remains a shell without content. So is what there is to say and show exciting enough to get it across to the target group? Are we able to present our messages in an exciting and convincing way? In addition to the stand design, the stand personnel and company employees on the stands must be motivated and competent. And they must know how to inspire visitors.
 
Röné Bringold, co-owner of D-SIGN Bringold & Cueni, Biel-Benken.

The communications agency Young & Rubicam Brands Geneva has entered into a partnership with the cultural think tank Flux Laboratory. This gives clients the opportunity to present their brands in a creative and innovative way, according to a media communiqué. Flux Laboratory was founded in 2003 by Cynthia Odier and creates links between art and business. With this new collaboration, Young & Rubicam Brands Geneva aims to offer its clients what it believes is a world first. The first activity will be the Trans-Warhol Opera, which will take place between March 8 and 10 at the Batiment Forces Motrices in Geneva. The production focuses on Andy Warhol's point of view - artistic marketing.

TerraTec Electronic, a German company specializing in multimedia, has decided to work with Jenni Kommunikation. Jenni Kommunikation, which specializes in ICT and consumer electronics, is taking on the mandate with immediate effect. The main task is to provide technical advice and implement TerraTec's communication strategy in Switzerland. Since its foundation in Nettetal in 1994, TerraTec Electronic has grown from a two-man company to one of the largest multimedia brands in Europe with over 40 employees today, according to a press release. The current portfolio includes audio systems, PC sound cards, video and TV cards as well as webcams and hi-fi/consumer products in areas such as home networking, MP3 and digital radio.

Newspapers Ruf Lanz continues to focus on "letter pictures" with the campaign for NZZ Folio. "The most interesting thing you can do with letters: NZZ Folio." This headline is also the concept behind the campaign for the linguistically sophisticated NZZ Folio supplement. Ruf Lanz launched a new reader and advertiser campaign for the supplement last year. Surprising images were created using only letters to get to the heart of the topic of the next NZZ Folio issue. The campaign was very well received by readers and advertisers alike. As the icing on the cake, it also received an award from the Art Directors Club Switzerland in the graphic design category in January. For 2007, Ruf Lanz has now devised a series of new subjects for NZZ Folio that will continue to captivate the public with astonishing letter arrangements. The subjects appear throughout the year in popular titles and in the advertising press.
Andreas Panzeri

The health care agency H+O Communications is responsible for the PR activities of various Biomed products. Whether active yeast, Indian medicinal plants or other plants such as gentian, elderflower and cowslip: the healing power of nature is a top priority at Biomed and is implemented by H+O. H+O gets support from experts and celebrities with a heart for nature, according to a press release.

Trade fairs Switzerland is an export nation. Trade fair appearances are important instruments for companies to gain a foothold abroad. Trade fair appearances have one main aim: to boost sales and raise awareness of products, brands and companies. Companies that want to grow abroad often encounter one or two difficulties here. On behalf of the federal government, Osec Business Network Switzerland offers support to export-oriented companies. Werbewoche spoke to Thérèse Künzli, Head of Trade Fairs and Events Abroad at Osec, about the possibilities of exhibiting abroad and the changes in the trade fair industry. WW: Ms. Künzli, what do companies that are considering taking part in a trade fair abroad need to bear in mind? Thérèse Künzli: First of all, choosing the "right" trade fair is crucial in order to address the "right" target group. Furthermore, serious and well-planned preparation is essential. This includes acquiring the relevant market knowledge. WW: What are the next steps? Thérèse Künzli: In addition to the stand concept, personnel planning and determining who will represent the company at the trade fair and who will provide backup for the company during the trade fair, it is also important to organize advertising materials that are adapted to the circumstances or translated accordingly. It is also very important that the relevant buyers or decision-makers of the target group(s) are informed in advance about the trade fair appearance and invited to visit the stand. Knowledge of the country's customary behaviour is a prerequisite.WW: How important is participation in a trade fair for an export-oriented company? Thérèse Künzli: It depends on where the company is in the "internationalization process". Basically, however, it can be said that hardly any other marketing instrument pursues as many goals and purposes as a trade fair.WW: And which goals and purposes should be mentioned here? Thérèse Künzli: In addition to the obvious purposes such as acquiring new customers and maintaining existing business relationships through interactive communication, the observation of competitors should also be mentioned here. A trade fair allows companies to get up close and personal, especially when launching new products, and to directly feel their market acceptance.WW: As an expert on the international trade fair scene, how do you assess the importance of major trade fairs? Are they in decline? Thérèse Künzli: Yes. Even if the exhibition industry is currently experiencing a noticeable and measurable economic upturn, the good times for large multi-sector trade fairs are probably over. WW: What trends are emerging in the exhibition industry? Thérèse Künzli: Today, on the one hand, leading international exhibitions with a global reach or clearly defined trade fairs are in demand. WW: Does this mean that B2B rather than B2C trade fairs are recommended for export-oriented companies? Thérèse Künzli: In the context of internationalization and a company's plans to expand abroad, the answer to this question must be a clear yes. This is because B2C trade fairs can only be considered in the area of consumer goods for the pure purpose of sales promotion. But even then, there are probably more effective campaigns such as direct mails or campaigns in department stores, where the cost/benefit effect is better. It can therefore not be ruled out that the still booming event market will overtake the classic B2C trade fair; this has already happened to some extent.WW: Osec Business Network Switzerland has a mandate from the federal government to support companies in their export efforts. One area here is trade fairs. Thérèse Künzli: After consulting with the company, we help it choose the right trade or industry fair, draw attention to stumbling blocks and, if required, can arrange trade fair service providers such as stand builders, logistics companies, etc. We also often find that companies want to exhibit abroad. It also happens time and again that we recommend the company to talk to an export consultant first. WW: What type of event/trade fair do you recommend in the consultation? Thérèse Künzli: That depends on the sector and target group. Companies from the capital goods industry are perhaps better off at conferences/symposia; companies that want to improve their market acceptance and target a broader audience are better off at trade fairs. This is also where you can see and meet the competition. Mixed forms are the trend - exhibitions combined with specialist presentations, for example. WW: How should companies that want to exhibit abroad proceed? Thérèse Künzli: Before considering specific trade fair projects, they should find out about the market they are targeting - and seek advice on possible market entry or processing strategies. A visit to the planned trade fair also provides a lot of important information and allows companies to form their own opinion. Every trade fair is different and has different regulations regarding stand construction, infrastructure, etc. It is advantageous to already have a distributor in the targeted market or at least to already have good contacts. We also offer such companies the opportunity to take part in our Swiss Pavilion.WW: Can you explain this concept? Thérèse Künzli: The Swiss Pavilion is a joint stand run by Osec at a wide variety of leading trade fairs and exhibitions worldwide, where Swiss companies can appear together under the umbrella brand "Switzerland". It is a platform for export-oriented companies that want to achieve one thing above all: To get off to a successful start at a foreign trade fair. The company hardly has to worry about anything and can prepare itself for the contacts and discussions. The presentation includes a turnkey stand for the company in a first-class location. A uniform design ensures that the Swiss Pavilion is recognized and noticed worldwide. WW: Which companies do you recommend to participate in the Swiss Pavilion? Thérèse Künzli: We recommend participation in the Swiss Pavilion to smaller companies that are entering new markets but do not want to and cannot devote their resources primarily to the time-consuming planning and preparation of a trade fair participation. But of course every Swiss company is welcome. WW: And is such a presence affordable for SMEs? Thérèse Künzli: That depends on how you calculate. We are convinced that a presence in the Swiss Pavilion is no more expensive than if companies take this step on their own. However, it is important not to forget your own time expenditure. An often unaffordable advantage of exhibiting at the Swiss Pavilion is its prominent location. This should not be underestimated. A small stand is rarely placed in the best location by the organizers: Jürgen Franck

Drinks McCann Erickson wants to open up a broader market for Anvil beer from Zurich's Kreis 5 district. The trend is well known. In addition to the large beer brands that dominate the market in many places, a growing circle of lovers of the fine brew also enjoy pouring themselves a niche product. Amboss beer, for example, is one such trendy beer in Zurich's nightlife scene. Its Amber tastes similar to Ittinger Klosterbräu, which is already so popular that it has had to be brewed in Chur with the support of Heineken Switzerland since 2002. Such rapid fermentation is not intended for the Amboss brand. However, a corresponding market share is more than just a beer idea at McCann Erickson. "We want to turn Amboss into a global brand," jokes CD Peter Rettinghausen. The Zurich agency has now developed the first campaign for its new client. "Give the man a beer" is the slogan. It shows a man in various situations who could actually be helped with a beer in this scene.
A success out of nothingThree motifs have been realized so far. The photographs were taken by Julien Vonier. Rettinghausen promises that the funny beer stories will be continued throughout the year with further ideas. "The campaign idea can be played out across various media."
Anvil beer has been around since 1991, when secondary school teacher Mischa Gubler and technical businessman Pascal Stübi - both just under 20 years old at the time - brewed their first beer together in the kitchen. They later developed the final recipe in a purpose-built microbrewery in an arch of the Wipking railroad viaduct in Zurich's Kreis 5 district. From 2002, Amboss was briefly produced in the Back und Brau in Zurich's Steinfels area. The only product was an unfiltered amber beer in 20-liter barrels for open dispensing. Bottles only followed later. To meet the growing demand, a larger brewery had to be found in 2004. Amboss found a reliable and high-quality partner in the 140-year-old Baar brewery. Since then, Amboss beer has been brewed and bottled there according to original recipes.
The classic Amboss beer is amber-colored and unfiltered. This balanced, malty beer is still only available on tap. The same product is available in a filtered version in 33 cl returnable bottles.
Open beer is available in Zurich's nightlife scene in places such as Dynamo, El Lokal, IQ-Bar, Pier West, Plaza-Bar, Seefeld-Bar, Sphères and Wüste. Bottled beer is also available in the Tonimolkerei, Mascotte and Kraftfeld Winterthur, as well as in only a few stores so far - which will of course change soon with this campaign.
Andreas Panzeri

Musicstar Fullhouse in the Maag Eventhall. Three candidates are waiting for the showdown. Then the last card is revealed. Fabienne takes the Musicstar pot. Sandra and Brian go away empty-handed. Not quite. We noticed the cover story of Schweizer Illustrierte. It's not Queen Fabienne who graces the cover. Wild Sexy Sandra got the free card, to stick with poker lingo. What happened? Is Schweizer Illustrierte defying Musicstar? The answer in the editorial: "We don't know who became Musicstar; the decision was made a few hours after this issue went to press." Editor-in-chief Urs Heller was playing story poker. "He had threes, how lucky can you get?" a player would say. Heller went all-in with Sandra and holds a "weak hand" this week. But in poker, you can shear the sheep several times. And Urs Heller will be looking at his cards in round 11. Next week, the SI poker face will be betting on Fabienne.  
Christian Lüscher

Shopping Stahelpartner launches a pictogram campaign and a radio station for ShopVille-RailCity. "Radio ShopVille-RailCity, good morning," Christian Handelsmann greets listeners. Lest there be any misunderstanding: the only shopping center with its own main station does not have its own radio. The Radio24 legend is advertising. But first things first. The Stahelpartner advertising agency is now responsible for the communication presence of Switzerland's fourth-largest shopping center. The young team led by Mark Stahel won the advertising budget of ShopVille-RailCity Zurich last fall. After ten years, its president Milan Prenosil parted ways with the advertising agency ZoggKettigerGasser. "After so many years, a change was due." In the pitch, which was put out to public tender, the agency Stahelpartner clearly came out on top against 60 competitors in terms of creativity and personality. Prenosil: "In terms of content, Stahelpartner presented us with a firework of creative ideas."
The "fireworks" have been present since mid-February. The posters are colorful and the radio spots, the heart of the campaign, are fresh. The media plan focuses on local radio stations. The catchment area of Switzerland's largest train station shopping arcade, Zurich, is advertised. The radio spots are independent of their predecessors and are based on a new concept. The idea: a fictitious Radio ShopVille-RailCity. Presenters tell pointed short stories in 30-second spots. "The spots should be perceived as a daily companion on the radio," says agency owner Mark Stahel. Two well-known voices are "on air" for Radio ShopVille-RailCity: Jeanette Eggenschwiler, Tele-Züri weather presenter, plus radio man Christian Handelsmann. The theme tune was composed by the Selmi recording studio. Prenosil explains why the famous "locomotive whistle" was abandoned: "We have intelligently modified the melody, even though the spots are independent. They also have the potential of their predecessor to become a catchy tune." Prenosil is proud of the radio idea and emphasizes its versatility for advertising.
The second focus is the pictogram campaign. The advertising agency, founded in May 2006, chose the international, easy-to-understand pictogram language for the print campaign. The pictorial symbols organize station life and, according to Mark Stahel, they are ideal for dramatizing the location and its advantages. The subjects "Shopping Lady", "Business Man" and "Shopping Family" have been designed for the first phase. The aim is to illustrate the variety of products on offer in a humorous way and to draw customers' attention to the unusual store opening hours. Messages such as "Shopping simply" or "Shop & Go" complement the pictogram and get to the heart of the main messages. Milan Prenosil: "Our USP, i.e. the store opening hours and our own train station, is wonderfully advertised with the posters."
Everything BahnhofDas ShopVille
was marketed for a long time with the slogan "The only shopping center with its own main station". In 2003, SBB announced that it wanted to rebuild all seven large Swiss railroad stations along the lines of the Zurich shopping arcade and combine them as RailCity. However, the renaming from ShopVille to RailCity did not go ahead because the ShopVille tenants' association put up resistance. An agreement was reached on ShopVille-RailCity Zurich, with the understanding that the population would only use the name ShopVille anyway. The main hall, on the other hand, is formally called RailCity Zurich. Christian Lüscher

The German television company ProSiebenSat.1 has officially had new owners since Tuesday. The financial investors KKR and Permira have completed the majority takeover, as reported by the news agency Sda. KKR and Permira currently hold around 88 percent of the shares and around 13 percent of the preference shares, which corresponds to almost 50.5 percent of ProSiebenSat.1's capital. The two private equity firms are planning to create the largest TV group in Germany. To this end, they want to merge their media group SBS with dozens of television and radio stations in Europe in order to compete with Europe's largest television and radio company RTL.