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• W2943442009 abstract "While the label ‘Swiss graphic design’ is still used today, and Swiss design still beingmade, little has been discussed as to what contemporary Swiss design is, its relationto the Swiss style and how the profession has evolved in recent years (Lzicar andFornari 2016: 8-10). This thesis, which is currently in its first year, proposes to fill thisknowledge gap by providing a survey of the dramatic changes undergone by Swiss designaround the turn of the 21st century. The research questions aim to answer whatSwiss graphic design is today, and how is it made. What are the key practices of Swissgraphic design? How has the profession evolved in the recent years? What role doinstitutions such as the Swiss Design Awards play in the definition of the Swiss style?I started this thesis in October 2016 and have spent the last months organising theliterature. I have started conducting interviews with designers and have written atable of contents organised around three axes. The first axis examines issues oftaste-making and myth-building. It will aim to answer the question of how the notionof a ‚national style‘ is encouraged and continually redefined, notably through the roleplayed by institutions such as the Swiss Design Awards and the Most Beautiful Books.Indeed, both have evolved in recent years to remain relevant and to address changesin the practices of graphic design. These changes will be analysed, and a selection ofawardees will constitute the basis of the corpus I will analyse in the second chapter.The second axis delves into the evolution of graphic design practices in Switzerland.A selection of works by designers who were awarded the Swiss Design Awards and/or the Most Beautiful Swiss Books will be analysed in order to let different strands ofcontemporary practice emerge. Indeed, just like there was not one but many ‚Swissstyles‘ (Hollis 2006), contemporary Swiss graphic design is equally heterogeneous.For instance, while some designers seem to base their work on content rather thana personal signature, others prefer to develop their own tools, analogue and digital;while some centre their practice around illustration, others have launched digital typefoundries or publishing houses. Interestingly, some designers have kept the traditionof publishing their own histories and organising their own exhibitions.The emergence of technologies allowed new practices, but it also radically changedthe way designers interact and network amongst themselves as well as with clients.The third axis analyses the mechanisms at play within the networks of designers. Forinstance, professional organisations seem to have become largely irrelevant, with designersrelying on other forms of networking. It seems like magazines play much lessof a role in the debate of contemporary design, a lack which has been regretted (Brunnerand Walchli 2008: 42). Finally, it looks like most critically recognised Swiss graphicdesign operates within the cultural sector; are there other areas where it is active?In order to answer these questions, and because of the relative lack of literature onrecent graphic design, I will rely heavily on oral history. I aim to conduct a series ofinterviews with as many designers as possible, as well as with important figures in thefield, such as actors of the cultural sector and important clients. This will be completedby visits to archives such as those Museum fur Gestaltung in Zurich, but also thedesigners’ own.I would appreciate a general feedback on the relevance of this approach from thepublic, as well as suggestions for literature which I might have missed (I am includinga selected bibliography below). I also welcome a critical appraisal of the methods I willemploy and the structure of the thesis as it stands now." @default.
• W2943442009 created "2019-05-09" @default.
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• W2943442009 date "2017-07-01" @default.
• W2943442009 modified "2023-09-27" @default.
• W2943442009 title "Swiss Graphic Design at the Turn of the 21st Century: Practices, Styles and Attitudes" @default.
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