Symposium MGDHS: Invar Hollaus (Video)


ANALYZING THE HISTORICAL CONTEXT: THE BASEL SCHOOL OF DESIGN AS A CASE STUDY
INVAR HOLLAUS: Lecturer, HGK FHNW Hochschule für Gestaltung und Kunst Basel
24. März 2014

Symposium MGDHS: Franziska Nyffenegger (Video)


SUISSE MINIATURE: THE DESIGN OF SWISSNESS IN TRAVEL SOUVENIRS
FRANZISKA NYFFENEGGER: Cultural Anthropologist, Project Manager and Researcher, Hochschule Luzern Design & Kunst
23. März 2014

Symposium MGDHS: Jérôme Baratelli, Constance Delamadeleine, Niels Wehrspann (Video)


LES 50 DERNIÈRES ANNÉES DU GRAPHISME SUISSE ROMAND (1964–2014)
CONSTANCE DELAMADELEINE: Researcher, HEAD Haute école d’art et de design, Genève
JÉRÔME BARATELLI: Professeur, HEAD Haute école d’art et de design, Genève
NIELS WEHRSPANN: Graphic Designer, Lausanne
22. März 2014

Symposium MGDHS: Davide Fornari (Video)


SWISS STYLE, MADE IN ITALY: GRAPHIC DESIGN ON THE BORDER
DAVIDE FORNARI: Lecturer and Researcher, Laboratory of visual culture, SUPSI University of applied sciences and arts of Southern Switzerland, Lugano
20. März 2014

Symposium MGDHS: Robert Lzicar, Amanda Unger (Video)


DESIGNING THE PAST: VISUAL CANONIZATION IN SWISS GRAPHIC DESIGN HISTORY
AMANDA UNGER: Researcher, Forschungsschwerpunkt Kommunikationsdesign, HKB Bern
ROBERT LZICAR: Lecturer and Researcher, HKB Bern; Doctoral Student, Graduate School of the Arts, Bern
18. März 2014

Symposium MGDHS: François Rappo (Video)


TEACHING TYPE DESIGN IN SWITZERLAND 1920–2014: LANDMARK PROGRAMS AND PROJECTS
FRANÇOIS RAPPO: Lecturer and Researcher, ECAL Ecole cantonale d’art de Lausanne
16. März 2014

Symposium MGDHS: Thomas Gnägi (Video)


«TYPOGRAFIE KANN UNTER UMSTÄNDEN KUNST SEIN»: GRAFIKDESIGN IM KONTEXT DES SCHWEIZERISCHEN WERKBUNDS
THOMAS GNÄGI: Researcher, Abteilung Architekturgeschichte und Denkmalpflege, Institut für Kunstgeschichte, Universität Bern
15. März 2014

Symposium MGDHS: Teal Triggs (Video)


(RE)MAPPING FUTURES: GRAPHIC DESIGN HISTORY, RESEARCH AND EDUCATION TEAL TRIGGS: Professor of Graphic Design and Associate Dean, School of Communication, Royal College of Art, London
14. März 2014

Symposium MGDHS: Welcome & Introduction (Video)


WELCOME & INTRODUCTION
PETER J. SCHNEEMANN: Director of the Institut für Kunstgeschichte, Universität Bern
ROBERT LZICAR: Lecturer and Researcher, HKB Bern; Doctoral Student, Graduate School of the Arts, Bern
13. März 2014

Symposium MGDHS: Impressions (Video)

12. März 2014

Symposium MGDHS (Photos)

Poster at the entrance to HKB Bern.
Welcome screen.
Arrival of the participants.
Participants at the book table.
Franziska Nyffenegger in conversation with Robert Lzicar.
Impression of the audience.
Arne Scheuermann in conversation with Hugo Ryser.
View from the audience.
Invar Hollaus, Jörg Bruppacher and Mika Mischler.
Welcome and introduction by Robert Lzicar.
Impression of the audience.
Impression of the audience.
Keynote by Teal Triggs (Professor of Graphic Design and Associate Dean, School of Communication, Royal College of Art, London): (RE)MAPPING FUTURES: GRAPHIC DESIGN HISTORY, RESEARCH AND EDUCATION.
Keynote by Teal Triggs (Professor of Graphic Design and Associate Dean, School of Communication, Royal College of Art, London): (RE)MAPPING FUTURES: GRAPHIC DESIGN HISTORY, RESEARCH AND EDUCATION.
Michael Renner, Head of Visual Communication Institute/The Basel School of Design, FHNW HGK Basel.
Peter J. Schneemann (Director of the Institut für Kunstgeschichte, Universität Bern).
François Rappo (Lecturer and Researcher, ECAL Ecole cantonale d’art de Lausanne).
Agnès Laube (Head of MA Communication Design, HKB Bern).
Brian Switzer (Professor for Communication Design, HTWG Konstanz, DE).
Barbara Junod (Curator Graphics Collection, Museum für Gestaltung Zürich, ZHdK/ICS).
First row: Barbara Junod, Amanda Unger, Arne Scheuermann and Peter J. Schneemann.
Morning break with Jennie from k.ntine.
Barbara Junod (Curator Graphics Collection, Museum für Gestaltung Zürich, ZHdK/ICS): WOLFGANG WEINGART – TYPOGRAPHY IN CONTEXT: TRADITION, MEDIA REVOLUTIONS AND INNOVATION IN THE WORK OF WOLFGANG WEIN
Robert Lzicar and Thomas Gnägi (Researcher, Abteilung Architekturgeschichte und Denkmalpflege, Institut für Kunstgeschichte, Universität Bern): «TYPOGRAFIE KANN UNTER UMSTÄNDEN KUNST SEIN»: GRAFIKDESI
François Rappo (Lecturer and Researcher, ECAL Ecole cantonale d’art de Lausanne): TYPE DESIGN EDUCATION IN SWITZERLAND 1920–2010: LANDMARK PROGRAMS AND PROJECTS.
Teal Triggs in conversation with Arne Scheuermann.
Invar Hollaus at lunch buffet by k.ntine.
Christian Jaquet and others at lunch buffet by k.ntine.
Constance Delamadelaine in conversation with Robert Lzicar.
Agnès Laube (Head of MA Communication Design, HKB Bern): LOOKING BACK TO THE FUTURE: WHY GRAPHIC DESIGNERS SHOULD KNOW “THEIR” HISTORY.
Franka Grosse (Lecturer, MA Communication Design, HKB Bern): LOOKING BACK TO THE FUTURE: WHY GRAPHIC DESIGNERS SHOULD KNOW “THEIR” HISTORY.
Amanda Unger (Researcher, Forschungsschwerpunkt Kommunikationsdesign, HKB Bern) and Robert Lzicar (Lecturer and Researcher, HKB Bern; Doctoral Student, Graduate School of the Arts, Bern): DESIGNING TH
Questioner from the audience.
Davide Fornari (Lecturer and Researcher, Laboratory of visual culture, SUPSI University of applied sciences and arts of Southern Switzerland, Lugano): SWISS STYLE, MADE IN ITALY: GRAPHIC DESIGN ON THE
Constance Delamadeleine (Researcher, HEAD Haute école d’art et de design, Genève): LES 50 DERNIÈRES ANNÉES DU GRAPHISME SUISSE ROMAND.
Constance Delamadeleine (Researcher, HEAD Haute école d’art et de design, Genève), Jérôme Baratelli (Professeur, HEAD Haute école d’art et de design, Genève) and Niels Wehrspann (Graphic Designer, Lau
First row: Barbara Junod, Amanda Unger and Arne Scheuermann.
Franziska Nyffenegger (Cultural Anthropologist, Project Manager and Researcher, Hochschule Luzern Design & Kunst): SUISSE MINIATURE: THE DESIGN OF SWISSNESS IN TRAVEL SOUVENIRS.
Teal Triggs, Davide Fornari, Barbara Bader and Thomas Gnägi.
Invar Hollaus (Lecturer, HGK FHNW Hochschule für Gestaltung und Kunst Basel): ANALYZING THE HISTORICAL CONTEXT: THE BASEL SCHOOL OF DESIGN AS A CASE STUDY.
Invar Hollaus (Lecturer, HGK FHNW Hochschule für Gestaltung und Kunst Basel): ANALYZING THE HISTORICAL CONTEXT: THE BASEL SCHOOL OF DESIGN AS A CASE STUDY.
The symposium “Mapping Graphic Design History in Switzerland” took place at the Hochschule der Künste Bern  last Thursday, February 27. We have received very positive feedback so far: We had some high-quality contributions to relevant issues and a large number of participants. Thanks to all participants and helpers for contributing to the success of the symposium. Please find some photos of the conference above. To start the slideshow please klick on the image.
05. März 2014

Designing the network

Here are some screenshots of the visualization of our data as network. They show people connected with publications or exhibitions. You can already recognize junctions where threads come together. A network of actors: A map of people, institutions and things that wrote graphic design history in Switzerland.

02. Mai 2013

Designing the timeline

Today our team member and designer/programmer Michael Flückiger demonstrated the first functional concept showing our data visualized as timeline. You can already recognize the adjustable zoom. But he convinced us to arrange the timeline vertical instead of horizontal as shown in the screenshots. In two weeks we will meet again to discuss the visualization as network. We look forward with eager!

 

18. April 2013

Presentation of our project

On january, 25th we were invited to present our research project at the MA Communication Design of the Hochschule der Künste Bern as part of the Y Toolbox “A la recherche de la recherche”. For the first time we summarized all our activities in a lecture. We talked about our research question, sources, methods and hypotheses at an examplary case and discussed our presentation with the students.

We took the chance and asked Andreas Moesch (thank you!) to film the whole lecture (about 2.5 hours). Afterwards he edited the most important parts to 30 minutes. Unfortunately, at the moment the documentation is available only in German. Please feel free to criticize or ask questions! Watch it on Vimeo: https://vimeo.com/59392700#at=0

18. Februar 2013

Interviews: Update

A short update concerning our interviews:

Already interviewed:

Date fixed:

Date requested:

Date posponed by request:

In preparation:

04. Februar 2013

E-Mail from the Schweizerischer Werkbund

On december, 17th we asked the Schweizerischer Werkbund (SWB) by e-mail if they published or exhibited on the history of graphic design. Yesterday we received a negative reply and an explanation from Eva von Büren: The SWB has always been interested in contemporary design issues solely. She also asked Prof. Dr. Bernd Nicolai from the Institute for Art History at the University of Bern, who is coordinating the research project “100 Jahre Schweizerischer Werkbund 1913–2013”. The outcome will be published this autumn. Nevertheless we are looking forward to the publication.
30. Januar 2013

Retreat in Wengen

Amanda Unger and Michael Flückiger at work.
Amanda Unger and Michael Flückiger at work.

The funding of our project by the Bern University of Applied Sciences will continue for seven months, till the end of July 2013. We discussed and planed the exploitation and continuation of our research at a retreat in Wengen on Saturday, January 12 2013:

  • What are the results of our research, respectively what must be done to get exploitable results?
  • Where can we publish and discuss these results, and how to prepare them?
  • How to continue our research and how to fund it?
14. Januar 2013

Planning interviews

The aim of our meeting with Agnès Laube on Monday, 10.12.2012 was to brainstorm for possible experts that can contribute graphic design historic publications and exhibitions to our database from the western and southern part of Switzerland, or hints where we can find those. Agnès Laube is an active member of the “Schweizerische Werkbund” and head of the MA communication design at the HKB. She has a broad knowledge on Swiss graphic design and knows practitioners, theorist and scholars.

The output of our brainstorming is the following list with possible interview partners (in alphabetical order):

As next step we will get in contact and hope for their commitment. Afterwards the interviews will be conducted in form of face to face interviews, by telephone or via e-mail.

03. Januar 2013

Structure of the data base

Actually we are working on the structure and categories of our future database. Together with our new project member, a programmer responsible for development of the database, we will design the front end and test the usability for researchers. We plan to enter our first records at the beginning of october.
Our aim is to collect all information in an unitary structure which builts the base for the results of our study. We expect new insights from the graphic representation of our data on the historiography of graphic design in Switzerland.

The first step will be to develop a prototype of the entry form and a sitemap to figure out the possibilities, links and cross references.
29. August 2012

Publications by the Helmhaus Zürich and the Gewerbemuseum Basel

During the last week we intensified our research on selected publications from the Helmhaus Zurich, the Gewerbemuseum Basel as well as the design magazine “Graphis”. Spending our days in different libraries we examined over 30 publications to check their relevance for our project.

We noticed that the Kunstgewerbemuseum/Plakatsammlung Basel followed an alternative approach to archive designed objects. Their aim was less to create an collection of all the “big names” of the field, but to look at the posters as a document of its time – reflecting society and zeitgeist. This is considerable for analyzing exhibitions which choose their objects from their collection.

PS: We also have to consider monographies of graphic designers, which are not following an retrospective narrative.

28. August 2012

Exhibitions at the Kunstgewerbemuseum Basel and at the Hemlmhaus Zürich

During the last days we extended our survey of exhibitions on graphic design history for the german speaking part of Switzerland, with the following institutions:

Most of all, the Kunstgewerbemuseum Basel organized exhibitions and published catalogues accompanying the exhibitions of our interest. They sent us a list of all publications. Now we made a first selection by the titles and will check the catalogues in the library to get further information on the concept of the exhibitions.

08. August 2012

Exhibitions at the Museum für Kommunikation (Bern) and the Shedhalle (Zürich)

Todays research was focussed around two institutions:

We also contacted the graphic designers from Schönherwehrs, to ask them for important sites for exhibiting graphic design (history) in the french speaking part of Switzerland.

The MfK as well as the Shedhalle Zürich are offering an overview about their exhibits till around 1992 on their websites. While the MfK as a young museum with a technical and a cultural-historical approach, with a own collection of different objects concerning “communication”, the Shedhalle is seen like an alternative space for contemporary art. Our research showed that both institutions do not contribute to graphic design history in terms of our research.

The first contact to Schönherwehrs was established during the exhibit “100 Jahre Schweizer Grafik” in the Museum für Gestaltung Zürich. The three members of the group curated temporarly a space of the show, focussing on the activities in graphic design in the Romandie, during 2011. We hope to get important inputs from them.

06. August 2012

Phone call with the Landesmuseum Zürich

A side note: Yesterday we telephoned the expert for the graphic collection at the Landesmuseum Zürich. He confirmed that the institution has not exhibited graphic design history focussed on the 20th century yet. But the Landesmuseum recently started collecting graphic designed objects. In cooperation with the Swiss Graphic Design Foundation (SGDF) the institution is actually building up a representative overview of the work from 50 to 100 well-known Swiss graphic designers. Till 2016 there should be a public access to parts of the selection. Visit the website of the SGDF for further information.
13. Juni 2012

Interview with Andres Janser

Yesterday we interviewed Andres Janser, art historian and film theorist, as soon as curator of the Museum of Design Zurich and editor of several publications on the history of graphic design. We consider him as a “narrator” or “gate keeper” of some major narratives in the field of graphic design history in Switzerland. He kindly agreed on publishing a summary of the interview.

Aim of the interview is to discuss evaluation criterions for the researched exhibitions and publications. It proved useful to talk about a specific exhibition project. So we talked about “Typotektur”, which took place in the Plakatraum of the Museum of Design Zurich in 2000. The exhibition examines the relationship typography and architecture. We asked questions on how the exhibition was conceived and decisions were taken, or why an object has been shown and facts been told (and others not). We tried to set the answers in a wider context.

Andres Janser told us, that the narration of an evolution was not important to the concept of “Typotektur”, but to offer an innovative point of view on posters of the “typotechnical field” – a term created by Andres Janser.

We also asked questions on a specific canon built by the Plakatraum. Andres Janser mentioned the possibility, that objects of unknown designers are shown, but these appearances are volatile – limited to the exhibit itself – without any influence on the canon.

When is a exhibition relevant for graphic design history? Andres Janser stated, that an exhibition is relevant when it is mentioned by experts afterwards. The “gate keepers” have to recognize the importance of a exhibition, so that it is incorporated in a “major line” and survives over a longer period.

Andres Janser distinguishes exhibitions that are based on “investigation” (“Recherche”) from those, which are based on “research” (“Forschung”). Exhibition that are part of a research project are claimed to go more into detail, because there is more time and financial resources. But he emphasized that does not affect the impact the show can have for graphic design history.

As a result Andres Janser mentioned three categories, used for the planning of an exhibition:

  1. Exhibitions on cultural history: focussing on a contemporary subject (e.g. “Wissen macht stark – 
Internationale AIDS-Präventionsplakate”, 22.10.2002–24.01.2003)
  2. Monographic exhibitions: presenting the work of a (well-known) graphic designer (e.g. “Armin Hofmann”, 03.03.2003–30.05.2003)
  3. Thematic exhibitions: assembling posters designed with the same technology or showing a specific subject (e.g. “Handmade”, 3.05.2005 – 29.07.2005; “Pas de deux – Paare im Plakat”, 3.3.2010 –13.6.2010)

Actually we retain these categories to classify listed exhibits and publications. The relevance of every category for the writing of design history, has still to be discussed. The next step is to discuss those categories and the question of relevance with the whole research team.

Good to know: Posters shown in the Plakatraum are selected from the poster collection of the Museum for Design Zurich, or served for additional purchases. That is why there is a dominance of products from Swiss graphic design.

12. Juni 2012

Library research “Graphis”

Working in the archive is hard work. Yesterday and today I started to sift through all Graphis magazines published in Switzerland from 1944 till 1986 in the ETH HDB library.

After about four hours of work I finished the first 20 editions till 1947. If we think of all the graphic magazines published in Switzerland listed below, it becomes quiet clear that we can not handle the amount of sources during this project.
To set a focus on a specific field of practice, a separation of the term “Gebrauchsgraphik” from “freie Graphik”, “angewandte Kunst”, “Dekoration” and “Illustration” is needed. But, where to put the book art of the 16th century? To find out, we have to research existing definitions on these terms in literature.
To connect our examination with a specific timeframe we could use common historic classifications and concentrate on a historic view on modern graphic design. This decision would exclude all publications/exhibitions that present objects (mainly) not designed during the modern era. As a result we would set the starting point of our examination on the shift from a pre-modern point of view, like contribution by art historians on calligraphy, book art, poster art, to a modern perspective on the history of graphic design. There are several definitions for the rise of modernity in graphic design. Just to mention one striking setting by Richard Hollis (1994): “When artists, instead of adding text with printer‘s type, drew the lettering themselves, and when they were responsible for each element in a design which was intended for reproduction by machine, they were practicing what was later to become recognized as graphic design.” Should we once again use the concept of modernity to narrow the range of sources? I think we have to.

The picture shows all the editions of Graphis magazine on a trolley used by the library.

08. Juni 2012

Exhibitions at the Museum für Gestaltung Zürich

After our working excursion to the SNF information lecture, we continued working on the list of exhibitions of Museum of Design Zurich and try to select the most important exhibits according to our project.

Therefor the terms retrospective and chronological have been discussed once again: Should we consider only those shows, which conciously introduce a timeline (in the sense of a chronological narration, as an element of story telling), or also shows presenting a theme and objects from different time periods without building on a chronic? A chronological point of view would also exclude all shows which are presenting objects that had been designed in the same year.

Until now we reduced the list from 1281 to 207 titles by selecting all graphic design exhibitions. These exhibitions are organized in three levels, from very important to less important. In a second step, we will select the most important exhibitions by consulting our research question once again, so we could examine these exhibitions more carefully (for example by researching the exhibited objects and their designers etc.).

To clarify the meaning of the terms, we arranged an informal interview with Andres Janser, curator at the Museum of Deisgn Zurich and writer. He put up some of the exhibits that we consider as maybe important, like Typotektur – Architektonich behandelte Schriften im Plakat or very important, like Good Design – Good Business. The questions of the interview will involve the factors, which determined the selection of the presented objects and, if a chronological point of view was important for this selection. To be continued …

05. Juni 2012

Online archive “Rote Fabrik Zeitung”

Online archive for back issues from the Fabrik Zeitung (sadly only back to 2008) and other printed matter by the Rote Fabrik in Zurich.
02. Juni 2012

Online archive “Graphis”

Another online archive by Graphis magazine published from 1944 till 1986 by Walter Herdeg in Zurich.

02. Juni 2012

Lecture “Der gute Antrag – SNF” by Brigitte Liebig

Today we worked on the future of our research. The fact that our resources are pretty short is forcing us regularly to think about possibilites for planning on a long term view. So we participated in an informative lecture “Der gute Antrag – SNF” by Brigitte Liebig in the context of the CAS “Qualifikationsprogramm Forschung an Kunsthochschulen”.

She recapitulated the possibilities the SNF (The Swiss National Science Foundation) is offering, gave us an inside view on how the SNF is working and adviced us on how to write a successful research proposal. For example the follwing questions were answered during the lecture:

  • What kind of projects are subventionned by the SNF and its different funding schemes? (See: Funding)
  • When the SNF accepts applications for project funding? (On 1st April and 1st October each year).
  • How long does it take till an applications is accepted or rejected? (About six months.)
  • How to set up a project to have a good chance of beeing accepted? (As you might think, there sadly is no recipe.)
  • How to argue and present your research in an application form?

We enjoyed the disussion in a small group size so that everybody had the possibility to rise specific questions and discuss research funding in general.

The given information motivated us to plan a follow-up. For this we fixed a new milestone: We want to applicate for project funding by the SNF in April 2013, so that we have the possibility to go on mapping Swiss Graphic Design History till the end of 2016.

02. Juni 2012

Categorization process

Recently we introduced first categories to differentiate between the “Solo Shows“ (e.g. “The work of Emil Cardinaux”),  „Group Shows“ (e.g. Company: “75 Jahre SBB”, Genre: “100 Jahre Schweizer Grafik”) and the „Technical Focussed Show“ (e.g. “Das Ornament im Plakat”). The categorization raises the question of the intention of the exhibition: Does it contribute to graphic design historiography or are the objects representing a different history (e.g. “Gender in advertisement”).

Exhibitions set the focus on different narratives. On which narrations were the exhibitions formed around? We developed the following groups:

  • Designer
  • Media/Application (e.g. Poster)
  • Place of publication (e.g. Switzerland)
  • Geographical provenience
  • Age/Epoch/Era/Time frame (from … to …)
  • Formal criterias (such as used printing technology, the use of colors)
  • Content/Shown information (e.g. Culture, Gender, Signs/Symbols, Corporate Identity)
  • Client (e.g. Geigy)
  • Collection (e.g. “Grafische Sammlung”)

One exhibition can belong to several groups (e.g. “The political black and white poster during Second World War”).

Last but not least, we found out that there is a general increase of graphic design focused exhibits in the Museum of Design Zurich in the close past. This is highly related to the existence of the specialized exhibition space of the Poster Collection from 1994 to 2010.

28. Mai 2012

First steps

During todays work we studied a list of all 1281 exhibitions, which contain graphic objects and took place in the Museum of Design Zurich since the opening of the institution in 1875 to today.

We gratefully received the list from the museum’s archive at the Zurich University of the Arts. The intention was to select all exhibitions that present graphic from a retrospective point of view and, by this, contribute to the historiography of the field. Following questions derived from the discussion:

  1. What does “retrospective“ mean in context of exhibiting graphic objects?
  2. How is the term “graphic“ interpreted in the exhibitions and what does it stand for?
  3. Are the objects shown in the exhibitions telling a story of the field itself or are they used to represent a different history? In other words: Do they constitute a graphic design historiography or are they used as signs for the story telling of a nation, historical event etc.

To answer the question whether an exhibition is “retrospective“ or not we have to have a closer look. At the moment we understand “retrospective“ as, that there has to be a distance between the opening-date of the exhibition and the presented time period. For example we exclude exhibits from 1925 displaying graphic design from 1924 (we fixed the distance of approximately 5 years as minimum). We consider distance is needed to read and understand the writing of history in its wider context. As general criteria we decided to consider exhibitions, which make a cross-section in a time period (e.g. 1920–1930) as well as those, which focus on a single moment in history. The discussion continues.

Another question to solve is the use of the term “Graphik“ or “Grafik”. It can have different functions and meanings, like “Angewandte Gebrauchsgrafik“, “Graphikdesign“/”Grafikdesign“ or “Visual Communication“, “Kommunikationsdesign” etc. The list and online documentation does not offer detailed information. We try to answer this question by having a look at the documentation in the archive and talking to experts of the museum soon.

25. Mai 2012

Guest lecture by Teal Triggs

On friday 11th of may 2012 the renowned graphic design researcher and historian Teal Triggs visited the Bern University of the Arts to give a guest lecture in the context of the CAS “Qualifikationsprogramm Forschung an Schweizer Kunsthochschulen”. After intoducing our research, Teal Triggs adressed three main issues: the development of the field graphic design history in UK and US, the special role of the “practitioner historians” in the field and the differentiation from art history. Her keynote was discussed by a panel afterwards. Members of the panel were: Barbara Bader (Bern University of the Arts, Course Director, BA/MA Art Education), Sarah Owens (Zurich University of the Arts, Co-Course Director and Lecturer, Specialization in Visual Communication), Pietro Morandi  (Zurich University of the Arts, Co-Course Director, MAS Cultural Media Studies) and Robert Lzicar (Bern University of the Arts, Researcher, Department R+D Communication Design). https://vimeo.com/42775949#at=0 

24. Mai 2012

A first brief description

This project investigates the forms of representation of Swiss graphic design history in publications and exhibitions. Linguistic content, the choice of artefacts, their arrangement and book and exhibition design serve to construct historic realities that influence the perception of history. The most important publications and exhibitions will be shown in context for the first-ever time. It is expected that the analysis of content and the design of “historic design sources” will form a new basis for scholarly investigations into the history of graphic design in Switzerland.

17. Mai 2012