Dennis Doordan is a design educator, critic,

Dennis Doordan is a design educator, critic,
museum consultant, and co-editor of Design Issues.
He has published books and articles on a wide variety
of topics dealing with modern and contemporary
architecture and design including political design,
the impact of new materials, and exhibition design.
He wrote the chapter “Developing Theories for
Sustainable Design” for The Handbook of Design for
Sustainability (Bloomsbury, 2013). His most recent
publication is “Design Research Today: Challenges
and Opportunities” in the August 2018 issue of
Archives of Design Research. He is Professor Emeritus
of Architecture and Design at the University of
Notre Dame.

Davide Fornari is associate professor at ECAL/
University of Art and Design Lausanne, where he
leads the Applied Research and Development sector.
He was co-coordinator of the SNSF-Sinergia research
project “Swiss Graphic Design and Typography
Revisited” (2016–2020), and co-edited the resulting
publication Swiss Graphic Design Histories (Scheidegger
& Spiess, 2021).

Elizabeth Guffey works at the intersection of art,
design, and disability studies. Her book Designing
Disability: Symbols, Space and Society (Bloomsbury,
2017) is a critical study of the International Symbol
of Access or “wheelchair symbol.” With Bess
Williamson, she is co-editor of Making Disability
Modern (Bloomsbury, 2020). Guffey has published
a number of books and scholarly articles on design
history, criticism, and theory. She is also Founding
Editor of the academic journal Design and Culture.

Robert Lzicar is professor at Bern University of the
Arts HKB, where he teaches design history, directs the
MA Design course, and coordinates the research field
“Design History” at the Institute of Design Research.
He was co-coordinator of the SNSF-Sinergia research
project “Swiss Graphic Design and Typography
Revisited” (2016–2020), and co-edited the resulting
publication Swiss Graphic Design Histories (Scheidegger
& Spiess, 2021).

Contributors

Chiara Barbieri holds a PhD in the History of
Design from the Royal College of Art (London) in
collaboration with the Victoria & Albert Museum.
She contributed to the research project “Swiss
Graphic Design and Typography Revisited (2016–
2020)” as a post-doc researcher at Bern University
of the Arts HKB. Currently, she is a researcher at
ECAL/University of Art and Design Lausanne, where
she researches on the work of Xanti Schawinsky and
Jan Tschichold’s book The New Typography.

Sandra Bischler is a research associate at FHNW
Academy of Art and Design in Basel. She graduated
with a BA in visual communication and holds
an MA in Art and Design Science from Folkwang
University of the Arts in Essen. She contributed
to the SNSF-Sinergia research project “Swiss Graphic
Design and Typography Revisited” (2016–2020)
as a doctoral student. She is currently completing
a PhD in the area of graphic design education in
Switzerland and Germany during the mid-twentieth
century, examining educational principles and
design philosophies with regard to their integration
and migration across national borders. She has
worked as a design history guest lecturer at
universities in Switzerland and abroad.

Stephen Boyd Davis is Professor of Design Research
at the Royal College of Art, London. Originally a
textile designer, he researches the theory and
practice of visualization, both historically and
through developing new practice using digital
methods. He also investigates the history of Design
Research and evaluates research for government
agencies internationally.

Constance Delamadeleine is a PhD candidate
at the Zurich University of the Arts and the
University of Lausanne. She is also a research
associate at HEAD – Genève (Geneva school of Art
and Design) and co-founder of the Geneva-based
design studio Futur Neue. She holds a BA in visual
communication from HEAD-Genève (Geneva
school of Art and Design) and a MA in Art History
from the Geneva University. She contributed to the
SNSF-Sinergia research project “Swiss Graphic Design
and Typography Revisited” (2016–2020) as a doctoral
student. Her PhD dissertation Between Paris and
Switzerland: shaping the label “Swiss graphic design and
typography” through national and international dynamics,
1945-1970 traces the transnational networks involved
in the construction, dissemination and promotion of
Swiss graphic design and typography.

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Peter J. Schneemann is full professor at the Institute
of Art History at the University of Bern and director
of the Department of Modern and Contemporary
Art History. He was co-applicant and subproject
leader on the SNSF-Sinergia projects “The Interior.
Art, Space, and Performance (Early Modern to
Postmodern)” (2012–2016) and “Swiss Graphic
Design and Typography Revisited” (2016–2020),
and co-edited the resulting publication Swiss Graphic
Design Histories (Scheidegger & Spiess, 2021). His
most recent publications are Reading Room. Re-Lektüren
des Innenraums [Reading Room. Rereadings of the
Interior], with Christine Göttler et al., eds. (De
Gruyter, 2019), and Localizing the Contemporary. The
Kunsthalle Bern as a Model ed., (JRP|Ringier, 2018).

Sara Zeller studied art history in Zurich, Berlin
and Bern from 2007 to 2014. She contributed to the
SNSF-Sinergia research project “Swiss Graphic
Design and Typography Revisited” (2016–2020)
as a doctoral student. In her PhD dissertation, she
focusses on the exhibition, “The Swiss Poster” by
the cultural foundation Pro Helvetia that was
internationally circulated between 1949 and 1952.
Her research interest lies in the intertwinement
of design exhibitions with economy, politics, and
designer identity.

Viola Zimmermann is a Zurich-based free-lance
graphic designer and the cover designer for this
special issue, “Swiss Graphic Design,” of Design
Issues (Volume 37, Number 1 Winter 2021). She also
teaches visual communication at the Bern University
of the Arts HKB.

Sarah Owens is Professor of Visual Communication
and Visual Cultures at Zurich University of the
Arts, where she chairs the subject area, heads
research, and directs the graduate program in Visual
Communication. She was subproject leader on the
SNSF-Sinergia project “Swiss Graphic Design and
Typography Revisited” (2016–2020), and co-edited the
resulting publication Swiss Graphic Design Histories
(Scheidegger & Spiess, 2021). She has lectured on her
research worldwide, and has edited and contributed
to several volumes on design theory, focusing on the
history, production, and mediation of visual artifacts.

Michael Renner is a professor and head of the Visual
Communication Institute at FHNW Academy of Art
and Design in Basel. He was a member of “eikones,”
the Swiss National Center of Competence in Iconic
Research and the European research network
“What Images Do” (2005–2013). He was subproject
leader on the SNSF-Sinergia project “Swiss Graphic
Design and Typography Revisited” (2016–2020), and
co-edited the resulting publication Swiss Graphic
Design Histories (Scheidegger & Spiess, 2021).

Arne Scheuermann is professor for Theory of Design
and head of the Institute of Design Research at the
Bern University of the Arts HKB. He was head
coordinator of the SNSF-Sinergia research project
“Swiss Graphic Design and Typography Revisited”
(2016–2020), and co-edited the resulting publication
Swiss Graphic Design Histories (Scheidegger & Spiess,
2021). Among his major books and edited volumes are
Design als Rhetorik. Grundlagen, Positionen, Fallstudien
[Design as Rhetoric. Basics, Positions, Case Studies]
with Gesche Joost, eds. (Birkhäuser, 2008), Zur Theorie
des Filmemachens [The Theory of Filmmaking] (Edition
Text + Kritik, 2009), Handbuch Medienrhetorik [Media
Rhetoric Manual] with Francesca Vidal eds. (De
Gruyter, 2017). He has been President of the SDN
Swiss Design Network from 2014 to 2020; he lectures
and runs workshops on design research and cultural
studies at numerous places.

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