1

Design For All

2017 VOL.12 #1
Agency by design
 Designers usually try hard to make differences… in terms
of function, shape and style. To “draw a distinction” is a
fundamental intellectual statement. Thus “Design for all”
shall not invite us to unify ideas and the conditions of
life — but it could remind us to share our professional be-
lief in a better future and our agency as humans. “Design
for all” implies meanings like “Quality of Life” or “A World
without Barriers” and many more idealistic truisms. But it
could also be another word for “distributive justice”. The
current issue gives you some ideas about the passion and
the excellence from Swiss visioneers and practitioners
and exemplifies our strategies to learn from each other in
multifaceted contexts, in colorfull cooperations and in-
tercultural settings. It is not the typical story about “Swiss-
ness”, it is more about “global assemblages of together-
ness”. “Design for all” means neither uncritical egalitari-
anism nor a simple postmaterialism. Above all it means
the unwavering facing up to and comprehension of the
human condition.

Acknowledgment
I would like to thank all the contributors for sharing their
ideas end experiences: Peter Vetter, Hansuli Matter, Mi-
chael Krohn, Mark Rölli, Nicole Foelsterl and Vojtech Rada.
And I would like to thank Jalscha Römer and her design
team for their mindful brains, slick eyes and endurance.
Finally I would like to express my sincere gratitude to
Dr. Sunil Bhatia and the editorial team in the Design for All
Institute of India for giving us this great opportunity.
24
Gerhard M.
Buurman

An important basis of the design

My reality isatwhat
curriculum Zurich
I believe
University
in, what
of
I base
the Arts my is actions
the mediation
on, andofitaisbroad
a
social construction
and critical culture as which
well Ias
must
the
renegotiate,
ability recreate
to deepened and relearn,
reflection.
with the
This world around
conviction motivates me, the
again dis-
and again.
cussion Today
about theI important
can be aware is-
that my
sues individual
of our time. Inhappiness
this context, maywe
be based
are developingon theprojects
unhappiness
dealing of
othereconomic,
with people. This is sufficient
cultural and social
grounds
issues infor a guilty conscience
developing countries –
A
Watching
Reka Treska
theCaves
Apollo
and
in it is to
order theexamine
reason why I engage
the relevance
in
liftthe
off Matka
at Cape
eral, X X X X.
(Macedonia).
Canyon
Canav-
with
of questions
design of global
in relation justice.
to society.
 Peter Vetter: Learning from each other 26

Some preliminary thoughts

Since my studies at the Kunstgewerbeschule Zürich
(School of Arts and Crafts) in the 60ies I have participated
in many design projects but I never was questioning my-
self if a project was social or not. My understanding of
design is based on the conviction that design is problem
solving, and design has in any case a social component.
The many projects I managed since then where com-
mercial, social or cultural without distinction. Also prin-
ciples like “participative or user centered design” are in
my understanding intrinsic of any design process – there
is no constructive and productive design process without
teamwork, dialogue, participation, users and interdisci-
plinary approaches.
When in the last time we hear all this talking about social
design, design thinking, participative design or user cen-
tered design then I’m wondering if the designers using
this expressions are not aware of notions and theories
from Peter Behrens (1868–1940), the Werkbund manifes-
to (1907) or did they not hear from the theories developed
at the Black Mountain College (1933–1956) or the hfg ulm
(1953–1968). Did they not study the books of Vilém Flusser
(1920–1991), Victor Papanek (1923–1998), Tomás Maldo-
nando or Gui Bonsiepe just to name a few of the funda-
mental inputs to our design discourse, and culture. When
in the last years, especially from US consulting and de-
sign companies this apparently new approach to design,
discovering social aspects etc. came up, one must think
of marketing. Commercial companies discovered a new
market in the area of philanthropy, developing countries,
social projects, and therefore a new business.
In my academic work, lecturing for many years, it is my
preoccupation to transmit the brought, and holistic idea
of design to my students. In my classes of identity and
branding design we are approaching all kind of cases
from commercial to social projects with the perspective
of constructive problem solving, and the aim of develop-
ing creative, and innovative solutions. The bases of these
 Peter Vetter: Learning from each other 27

projects are the consciousness of the creative process

as well as a number of methods and tools, and the ability
of reflection on the impact and the consequences of the
proposed solutions. All this is absolutely neutral and ap-
plicable to either commercial or non-commercial prob-
lems, and projects.

My beginning in Maputo
In 2012 one of our professors, Rudolf Barmettler, an out-
standing typeface design and typography lecturer, passed
his vacations in Africa and particularly in Maputo the cap-
ital of Mozambique. There he met people from the faculty
of the Pedagogic University 1, and when they heard about
his background they asked him about identity, and brand-
ing design. When he came back he told me about his ex-
perience, and asked me to contact his interlocutors in
Mozambique. So I did, and asked the responsible people
of the Pedagogic University to specify their needs and
ideas for a potential exchange and support by our institu-
tion. Based on their answers we decided to establish a
project and because we thought a personal contact could
accelerate the understanding of the necessity and the re- 1
quirements of our African partners I travelled to Maputo Universidade
Pedagógica
to meet the dean and the faculty of the University. Moçambique, Maputo

My first question was, why they asked for identity and brand
design? In my opinion they needed almost everything, as
Mozambique is one of the poorest countries in the world,
but not identity or branding. In long and intensive discus-
sions they explained me their conception of promoting
economic growth. One of the main concepts was the devel-
opment of small and medium businesses, and their need of
design and communication to be able to develop and com-
mercialize their products or services autonomously.
Some of the samples they used to illustrate the present
situation of the economic situation were based on the
fact, that there is not one design studio or communica-
tion agency in Mozambique and they do not have a print-
ing industry able to print their own schoolbooks. Mozam-
 Peter Vetter: Learning from each other 28

bique grows excellent oranges but there is no industry to

produce juices or other products derived from oranges.
In consequence the oranges are exported to South Africa
and latter re-imported as branded orange juice, and the
added value will be principally in South Africa.
Another example is from the area in the north of Mozam-
bique where, since the colonial period, an Indian minority
is living. They are producing excellent Ayurveda-like cos-
metics with a great potential for the export. Therefore they
needed design for branding and packaging and found only
a consultancy in Lisbon in Portugal (the former colonialists
of Mozambique), and to make it short, they bankrupted be-
cause of the expenses for the Portuguese consultancy.
The central idea emerging from our discussions was the
notion of design and communication as support for the
economic development and growth. Countries like Mo-
zambique have great resources particularly in the agricul-
tural area but also in tourism or textile and fashion industry.
There are two main tendencies in the economic develop-
ment: one is the internal market, in order to minimize the
dependence from foreign imports and therefore from cur-

Maputo, the capital of Mozambique

 Peter Vetter: Learning from each other 29

rency spending’s, and the second aspect is to expand ex-

port through valuable products they can offer on the inter-
national market (I prefer the term international instead of
global because it contains the component of national) to
be able to generate additional income. Most of the devel-
oping countries do not have a developed system of what
we call small and medium companies and therefore their 2
economies are lacking what in most of the developed See also: UNESCO
Creative Economy
economies constitute the economic backbone. 2 Repor t 2013

Design as economic driver

Based on the innovative force of a comprehensive design
process we decided to develop, for our Mozambique proj-
ect, a number of business cases, tailored to the potential
needs of the country to demonstrate and prove with these
contributions the relevance of design as economic driver.
The cases where located in the area of sustainable tour-
ism, natural cosmetics and beauty products, furniture,
bio food products and food distribution. For all the cases
students from Zurich developed proposals for products
and services, for branding and communication as well as
for economic concepts. Each of the 24 developed proj-
ects was documented on a poster with appropriate ex-
planations and illustrations. We translated the posters in
Portuguese, the language of Mozambique and created in
Maputo a small exhibition as support and promotion to
our theories. The surprise was, that the visitors asked
where the different products and services where avail-
able, and expressed their proud that Mozambique was
able to produce such advanced offers.

Our approach to innovation

The underlying concept for an identity, and branding course
are the five phases of the design process: Analysis, hy-
pothesis, synthesis, implementation and monitoring. The
project has a duration of usually four weeks and each of
the phases is developed within one week. The phase’s im-
plementation and monitoring are substituted by the elab-
 Peter Vetter: Learning from each other 30

Laboratorium Mozambique, 2012

Zurich University of the Ar ts

B1 Niassa Furniture, branding and communication

program, Laia Or tiz Sansano
B2 Niassa Furniture, printed material, Laia Or tiz Sansano
C MossamCoop, branding and interior design
for a local supermarket, Tanja Schaub

B1 B2

C
 Peter Vetter: Learning from each other 31

s
tic

s
tic

tic

tic
zo

zo

zo

zo
EN EN
RC TO RC TO
EN EN
RC TO RC TO

100 PO
100 PO

DE O DE O
UITS AD O

100 PO

100 PO
UITS AD

UE
DE O DE O
UE

FR BRIC FR BRIC
TE UT
E FA MAP / 12 UITS AD UITS AD
6 12
E FA TE /

UE

UE
FR BRIC ZIA FR BRIC A
AO / AO / 6

IQ
BE
IQ

AZ
E FA ZAM / 12 E FA G / 12
M 15 M 30 /6 6
AO /

IQ

IQ
AO

B
O ÇAM 15 5
B

O ÇAM M M

B
O ÇAM O ÇAM

suco de laranja suco de toranja

pasteurizado pasteurizado suco de limão suco de manga
pasteurizado pasteurizado
0,35 dl 0,35 dl
— — 0,35 dl 0,35 dl
8 laranjas 5 toranjas — —
0,5 dl de água 0,5 dl de água 5 limãos 6 mangas
— — 2 dl de água 1 dl de água
sede de zotics sede de zotics — —
Cidade de Angoche Cidade de Angoche sede de zotics sede de zotics
Nampula Nampula Cidade de Angoche Cidade de Angoche
Nampula Nampula
s
tic
su e s
co
d uta
zo

s
fr

cs
zoti

D1

zotics
zotics

zotics

D2 D3

Laboratorium Mozambique, 2012

Zurich University of the Ar ts

D1–D3 Zotics, branding and design program

for natural juices, Selina Theiler
E E Matolo Travel, branding program for
a sustainable tour operator, Nico Bucci
 Peter Vetter: Learning from each other 32

F1

maputo – beira

many other daily flights and special tours under www.afritour.com afritour

F2

mkuze bus tour

many other daily flights and special tours under www.afritour.com afritour

Laboratorium Mozambique, 2012

Zurich University of the Ar ts

F 1–F2 Geranio, branding for natural medicine,

Romy Strasser
G Afritour, branding and communication G zambezi boat trip
afritour
for a transpor tation company, Lukas Ackermann many other daily flights and special tours under www.afritour.com
 Peter Vetter: Learning from each other 33

oration of documentation and the preparation of the pre-

sentation. The individual project phases depend on the
nature of the project, and vary in scope and timeframe.
Different skills are in demand due to different types of ex-
pertise and competences.

The analysis
Every project starts with an analysis phase. In this phase,
all the details of the project are determined. A serious
analysis must question the existing briefing, and if need-
ed specify, change or correct the tasks. Maximum open-
ness is required, and the designers should take nothing
for granted. Michael Bierut, a designer at Pentagram, says
in an interview with the design magazine Design Boom:
“The biggest trap is to believe the brief you’re given is the
whole story. It never is, and I repeat, never the whole story.

The process for generating innovation

Phase 1 Phase 2 Phase 3 Phase 4

Analysis Hypothesis Synthesis Implemen-
tation

Explore Immerse Ideate Envision Hypothesize Design Refine Market

Asking
Come up with the ideas
that will challenge the
status quo by asking the
right questions.

Prototyping
Make the ideas more real – at any stage
in the process – so that they can be
experienced, evaluated improved or re-
considered.

Filtering
Challenge assumptions and
conclusions to draw out
the breakthrough from the
banal.
 Peter Vetter: Learning from each other 34

Moreover, the part that no one has thought to tell you up

front is often the most important thing you need to know.
Don’t worry, it will come out eventually, usually when your
first idea is being rejected. It’s important to keep an open
mind when you’re presenting design work. Don’t assume
you know it all, just shut up and listen.“ 3 The analysis is
therefore the most important part of the creative process.
At this stage, the problem is investigated more accurate-
3
Michael Bierut, ly, meaning that the creative development will become
Pentagram,
in an inter view with
clearer. The conceptual approaches as well as a number
the Design Magazine of criteria will be elaborated and are binding for the de-
Design Boom,
August 2013 velopments in the next phase.

The hypothesis
In the second phase, a number of different hypotheses
will be developed with the aim of exploring different cre-
ative alternative solutions or scenarios. Basically, it is prov-
en that developing various scenarios at this stage of the
project as well as a critical comparison lead to innovative
solutions. The creative presentation of different variations

Discussion and critique session during

the design process of the Mozambique
projects.
 Peter Vetter: Learning from each other 35

and ways of interpreting a task enables constructive de-

bate and discussion to take place around decision-mak-
ing. It is recommended to assign precise topics to the dif-
ferent scenarios (there should be three to maximum five
scenarios) and to visualize them as comprehensive over-
views. Topics might include: dynamic vs. static, conserva-
tive vs. progressive, or individual vs. collective. It is import-
ant to compare the presented scenarios and broadly cover
the most important media. The discussion is simplified
and the advantages and disadvantages of a particular
solution can be better assessed.

The synthesis
The third phase focuses on detail design. The basic ele-
ments are clearly defined by the decision taken at the
end of the second phase. What is now important is the
further development and design of all relevant media ex-
4 pressions. Where phase two focused on the breadth of
The description of the
design process is a
exploration, this phase requires depth. Technical and fi-
modified extract from the nancial factors are also taken into account. Similarly, the
authors book: Design
as Investment – Design feasibility of specific solutions must be verified by means
and Communication
as a Management tool; of additional investigations or tests. At the end of this
Peter Vetter and
Katharina Leuenberger;
phase, a presentation will be the output, which covers all
edited by Spielbein aspects of the recommended solution including a com-
Publishers, Wiesbaden
(Germany); 2016 prehensive argumentation. 4

The developments
The relevance and the characteristics of the projects (e.g.
exotic countries, uncommon situations and questions, in-
novation etc.) generated by the students a great motiva-
tion and engagement. The specific requirements of the
situation of the various business cases generated unusu-
al approaches and also different conceptual as well as es-
thetic propositions. To summarize the experience: It was
one of the most successful projects we have undertaken.
This outcome ensured me to organize other projects in this
direction. In 2013 we organized the Indian project together
with the Abhati Foundation (a Swiss-Indian Foundation in-
 Peter Vetter: Learning from each other 36

Projects for India, 2013

Zurich University of the Ar ts

H Mulya, branding for a micro credit

organization, Philip Bührer
I Sara, branding for natural essences,
Kerstin Bar th
J Svacchata, branding for a hygienic program,
Sara Hardegger

H I

J
 Peter Vetter: Learning from each other 37

Projects for Madagascar, 2015

Zurich University of the Ar ts

K vao vao, branding for natural cosmetics,

David Jäggi
L Vehivay Institota, branding for a literacy school
for women, Paula Rigendinger
M Asa Tanana, branding for handcrafted products,
Anna Z’Brun

K
 Peter Vetter: Learning from each other 38

N1

N2

Projects for Marrakech, 2015

Zurich University of the Ar ts,
Ecole Supérieure des Ar ts Visuels de Marrakech, Berlin
University of the Ar ts and
Köln International Design School KISD

N1–N3 The project was concentrated on the mapping

of potential design and communication
projects in the city of Marrakech. These
representations are showing concepts to gain
awareness on empty and forgotten spaces
in the city.
Designers, see page 47
N3
 Peter Vetter: Learning from each other 39

Projects for Marrakech, 2015

Zurich University of the Ar ts,
Ecole Supérieure des Ar ts Visuels de Marrakech,
Berlin University of the Ar ts and
Köln International Design School KISD

N4 –P Various examples from the developed

projects suggesting aspects such
as sound, taste, colors or proposing
communicative actions to the city.
Designers, see page 47

N4

N5 O

P
 Peter Vetter: Learning from each other 40

volved in hygienic and women empowerment projects in In-

dia) 5. The year after we repeated the project with cases in
Madagascar and finally in 2015 we where able to bring stu-
5 dents from Zurich, Cologne and Berlin together with local
Abhati is an ethically
minded skincare brand,
students from Marrakech, Morocco for Projects for Marra-
deeply influenced kech. The project was concentrated on the mapping of po-
by its Indian heritage.
w w w.abhatisuisse.com tential project ideas for the urban area of Marrakech.

New dimensions in Macedonia

In 2016 the project evolved. In the context of a research
program of the Zurich University of the Arts, Design with
social relevance in collaboration with the Swiss develop-
ment agency swisscontact and the financing of Mercator
Foundation, we organized a three-week stay in Skopje,
the capital of Macedonia, one of the poorest Balkan
countries. After a one-week preparation via Skype con-
tacts for the organization of the project 16 students from
the study course Style & Design from Zurich University of
the Arts traveled to Macedonia and worked with 16 Indus-

The four “Projects for Macedonia” where

publicly exposed and presented in
the ancient caravanserai Suli-An in Skopje
(Macedonia).
 Peter Vetter: Learning from each other 41

trial Design students form the Ss. Cyril and Methodius

University of Skopje together with 8 students from the
Economic Faculty of the same university. We formed four
mixed teams and in this project the business cases where
given by our partner swisscontact. For the first time we
where able to work on real cases in the country, together
with local students and lecturers and we were confront-
ed with the real, difficult, economic, and political situa-
tion of Macedonia.

New interpretation of Macedonian tradition

The research in the Debar area (mountain region in west-
ern Macedonia) has led to the conclusion, that a compre-
hensive documentation of traditional handcraft could be
the bases to build up the project. A visit at the National
Museum of Macedonia gave input for a catalogue of tradi-
tional handcraft including patterns, colors, materials and
techniques mainly in the field of textiles. With the aim of
motivating people to express their own creativity and the
interest for the re-interpretation of traditional textile prod-
ucts, a concept for a workshop and meeting point has been
developed. In the workshop people can experience print-
ing and weaving as well as exchange ideas and buy mate-
rial or literature about Macedonian handcraft. Two main
DIY-products will be offered: a kit with a weaving frame and
a box with stamps for printing traditional patterns.

A brand for natural Macedonian food

Organic and bio food is considered to be luxury in Mace-
donia. A number of interviews with consumers as well as
with retailers, in this sector, indicated the need of an in-
formation program about natural, healthy food to educate
conscious consumers about the benefits of natural food.
Based on this background the concept for a prototypical
product line for natural food has been defined. Herbs
grown in the Macedonian mountains are the basis for the
products. The cultivation of natural herbs could be an ad-
ditional income for small farmers and at the same time a
 Peter Vetter: Learning from each other 42

product with potential for export. The product line for teas
is a prototypical sample for natural cultivation, fair-trade,
Macedonian natural resources and of economic rele-
vance. The new brand and its educational promotion of
the tea products will, in the future, lead to the develop-
ment of other similar product offers.

Concepts for the Mavrovo area

The area of Mavrovo National Park (mountain region in
western Macedonia) is the most spectacular park in
Macedonia when it comes to biodiversity. It is a home to
various, some endemic and endangered, species. To pro-
mote the park and develop the infrastructure is the aim of
this project. The development of the infrastructure should
also lead to a better management and maintenance of
the park. The economic dependence from the forestry
(logging) should be optimized with typical products of the
area. The interchange with the communities around the
park as well as with the private ski resort owners should
be optimized and synergies further developed. A com-
prehensive national education campaign about waste
prevention (which is not an isolated phenomenon of the
park) has been designed as a promotion activity for the
park. In addition a branding, signage and information de-
sign system has been developed.

Urban center for creativity and sustainability

Worm composting involves the breakdown of organic
waste via the joint action of worms and microorganism
into natural fertilizer. The procedure of composting is a
fundamental element in producing natural gardening and
food production. In order to introduce this awareness in
Macedonia, the idea of a creative place for composting
and urban gardening has been developed. The goal is to
sensitize people and give them educational information
about the process and also about how to grow vegetables
in the city. At this open space parties or concerts can be
organized, it is an attractive place for enjoyment. At the
 Peter Vetter: Learning from each other 43

same time people getting attracted by using a worm box

at home. The creation and distribution of worm boxes is
the commercial part of the offer of the association and
contributes to its financing.

An outlook
The experience, especially the two projects in Morocco
and Macedonia proved the importance, not only for design
and economy, but of young people from different countries
with different cultures and languages, to work together and
to learn from each other. Another outcome, supported by
the results from all five projects is the energy and the cre-
ative force such projects generate thanks to the relevance
of the problems and the willingness of young people to
contribute with their ideas to the solution of the many
pending problems in the world. In one of the discussions in
Macedonia we where asking ourselves if our contribution
as small it might be constitutes a constructive approach,
and all participants agreed that many little propositions
6
Michel Bierut: How
will during time generate something bigger and we where
to use graphic design…; part of this process. Or, to say it with Michael Bierut’s words,
Thames & Hudson,
London (UK ); 2015 “... and once in a while change the world!” 6
As a summary, out of the experience from the five projects,
I think we could develop a broader project aimed to the de-
velopment of creative Industries 7 in developing countries.
Such a program should foresee a collaboration with local
Universities and involve students, assistants, and junior
lecturers from Europe together with local faculty and stu-
dents with the goal i) to develop real projects as described
and ii) offer train the trainer programs, and iii) prepare a
new generation of lecturers conscious of the didactic and
economic value of such initiatives. The main idea of “learn-
ing from each other” should lead to better understanding
of different point of views, cultures, and problems and ulti-
mately create an exchange platform and finally effective
partnerships and collaborative networks. Projects like 6
these should represent an innovative initiative for progres- See also: UNESCO:
Creative Industr y;
sive design schools, and universities. w w w.unesco.org
 Peter Vetter: Learning from each other 44

Q1

Q2 Q3

Projects for Macedonia, 2016

Zurich University of the Ar ts and
Ss. Cyril and Methodius University, Skopje

Q1– Q4 Concept and design development

for a campaign for the dissemination
and awareness of urban gardening
and worm composting in the city of
Q4
R Skopje.
Designers, see page 47/48
 Peter Vetter: Learning from each other 45

R1

R2 R3

Projects for Macedonia, 2016

Zurich University of the Ar ts and
Ss. Cyril and Methodius University, Skopje

R1–R4 New interpretation of Macedonian craftsmanship

was the theme of this project. In a DIY-workshop
corresponding training, products, and equipment
are offered and also distributed through the
R4 Internet.
Designers, see page 47/48
 Peter Vetter: Learning from each other 46

12
0 2 4 8 KM

LOCAL ROAD

MOUNTAIN BIKE TRAIL

HIKING TRAIL

STREAMS

BEAR TRAIL

SHEEPHERD TRAIL

PLANT TRAIL

WATER SPORT

HOME STAY

RESTAURANT

CHURCH

GAS STATION

HOSPITAL

GRILL AREA

WORKSHOP

POST

SKI CENTRE

CAMPING

INFO POINT
2233
2754

KORAB
2391
SHARA MOUNTAIN
Projects for Macedonia, 2016
Zurich University of the Ar ts and
Ss. Cyril and Methodius University, Skopje

S1–S 3 For the Mavrovo National Park various

concepts have been developed to optimize
the offer, the communication including
a national waste campaign, and the infra-
structure.
Designers, see page 47/48

PUBLIC TRANSPORT

MARKET

HIGHLIGHTS

1980

2373

BISTRA

2343

DESHAT
2078

2107

S1 S2

71

S3
 Peter Vetter: Learning from each other 47

Projects for Macedonia, 2016

Zurich University of the Ar ts and
Ss. Cyril and Methodius University, Skopje

T 1–T4 In order to sensitize for natural and

organic food, a series of prototypical
products have been developed to
proof the requirements of ecology,
fair trade, health and sustainability.
Designers, see page 47/48

T1 T2

T3

T4
Peter Vetter: Learning from each other 48

2012
Laboratorium Mozambique: 26 Projects for Mozambique
Lecturer: Peter Vetter
Assistant: Martin Waldner
Students:
Zurich University of the Arts; Visual Communication (BA):
Selina Theiler, Daniel Jerosch, Anina Amacker,
Lea Fischlin, Jamie Edward, Nico Bucci, Sabrina Kugler,
Lukas Ackermann, Tingshan Cavelti, Andreas Spörri,
Tanja Schaub, Sibylle Frutiger, Julia Schäfer, Ursina Meyer,
Jalscha Römer, Dario Mutter, Laia Ortiz Sansano,
Boris Stoll, Romy Strasser, Ronja Scheidel, Ramon Aemmer,
Christa Akert, Monika Nef, Anita Kolar, Mia Braunwalder,
Aurelia Zihlmann

2013
Projects for India
Lecturer: Peter Vetter
Assistant: Denise Bertschi
Students:
Zurich University of the Arts; Visual Communication (BA):
Sara Hardegger, Alessio Aliprandi, Jil Bargues,
Kerstin Barth, Laura Bonsignore-Slodownik, Ruben Brändli,
Philip Bührer, Sofia Ciriello, Jeanne Decasper,
Julia Felber, Christoph Friedli, Malin Gewinner, Maria del
Mar Ginot Blanco, Dennis-Kyōsuke Ginsing, Salome
Grand, Janina Hess, Johannes Inauen, Niklaus Knecht,
Rahel Preisig, Lorena Stohner, Allaina Venema

2015
Projects for Madagascar
Lecturer: Peter Vetter
Assistant: Henriette-Friederike Herm
Students:
Zurich University of the Arts; Style and Design (BA):
Mirjam Maag, Céline Géraldine Lütolf, Paula Rigendinger,
Alexander de Macedo, Anna Z’Brun, Maurice Müller,
Anna Elena Marchini Camia, Sarah Schott, Antje Kropf,
Peter Vetter: Learning from each other 49

Corinne Hepting, Pia Fischer, David Jäggi, Elena

Frischknecht, Hanna Büker, Anna-Lena Winterberger,
Stefanie Aberer, Mona Altheimer, Larissa Holaschke,
Naomi Ena Eggli

2015
Projects for Marrakech – learning from each other
Lecturers: Peter Vetter, Vincent Melilli, Florence Robert
Assistants: Bernd Grether, Jimmy Elias,
Katharina Leuenberger
Students:
Ecole Supérieure des Arts Visuels de Marrakech; Film
and Graphic Design (BA/MA): Ghita Ait Bensaleh,
Issam Battoum, Joussef Bonzidi, Fatine Ariba, Ilias El
Mezouari, Youssef Ait Ayad, Nathalie Eock, Omar
Janati Idrissi, Abderahman Benhatoum, Hamza Essalouh,
Maha Mouidine, Ahmed Messoudi, Abderahman
Benhatoum, Hamza Essalouh, Maha Mouidine, Ahmed
Messoudi, Ali Benhayoune, Hasna Bella, Salima
El Assaly, Qualid Ayoub, Aymen El Hankouri, Chayma
Ghenam, Ikbal Barez, Souad Mahmoudi, Hiba Chaari

Berlin University of the Arts; Visual Communication (MA);

Simon Steinberger, Simon Schindele, Lina-Trixi Feller,
Sam Young Kim

Köln International School of Design, KISD; Identity and

Design (MA): Max Hoffmann, Alexa Wernery, Mario Frank

Zurich University of the Arts; Design (MA):

Heidrum Föhn, Joana Kelén, Lena Grossmüller, Nora
Lehmann, Rebekka Gerber, Angela Schmidt

2016
Projects for Macedonia – learning from each other
Lecturer: Peter Vetter, Sofija Siderenko, Tatjana Kandikjan
Assistants: Christian Imhof, Katharina Leuenberger,
Slave Ristomanov
Peter Vetter: Learning from each other 50

Students:
Ss. Cyril and Methodius University, Skopje; Industrial
Design and Economy (BA and MA):
Petar Avramoski, Milosh Sokolikj, Marija Mitrovska, Martin
Jankoski, Simona Mihajloska, Filip Avramov, Natalija
Cebova, Martina Miladinoska, Simona Anchevska, Ognen
Manevski, Elena Radeska, Davor Velinov, Ana
Zdravkova, Andrej Gjorgjievski, Petar Popovski, Boris
Djartov, Bojan Boshevski, Jovan Molkoski, Roberta
Kamchevska, Slavco Nikolovski, Simona Tasevska, Andrej
Pavlov, Christijan Vasilev, Ivona Negreva, Asja Mucha,
Angela Loboska, Anastasija Cikarska, Simona Peovska,
Nenad Simonovski, Aleksandra Aleksovska, Ema
Velkovska, Trajanka Mickovska

Zurich University of the Arts; Style and Design (BA):

Sabrina Deuss, Fabienne Steiner, Jacqueline Brantschen,
Jennifer Krass, Jill Böhringer, Adélaide Schläpfer,
Cheryl Graf, Nicole Heim, Vania Burri, Corinne Jolliet,
Mariella Ingrassia, Meret Mache, Rebecca Breitenstein,
Manuel Fischer, Lea Hofer, Manuela Zellweger,
Céline-Niara Sakho
Peter Vetter is designer, partner and creative director of
Coande, specialized in the field of strategic consulting.
He gained his extensive experience while working inter-
nationally in Italy, Germany, the USA, and Japan. In Italy, he
worked independently with Tomás Maldonado and later
as a partner of BBV (Baur, Baviera, Vetter). From 1984 to
1995 he was partner and creative director of the Corpo-
rate Identity Agency Zintzmeyer & Lux AG in Zurich and
after that Senior Vice-President of Vignelli Associates in
New York. He is a senior lecturer and researcher at Zurich
University of the Arts and teaches identity, brand and com-
munication as well as economics, design and innovation.
Peter Vetter manages international projects such as “De-
sign for all“ at Zurich University of the Arts and in recent
years lectured and led workshops in Mozambique, India,
Morocco, China and Macedonia, as well as in Germany, It-
aly and the USA. He is a member of various national and
international design juries, was president of the SGV
(Swiss Graphic Design Association) for several years and
is president of netzhdk, the alumni association and the
advisory board of the Zurich University of Arts. Coande
was founded in 1998 by Peter Vetter and Katharina Leuen-
berger and is a consultancy studio for identity and brand
development. For many years, this studio has realized
successful projects for demanding international clients.

www.coande.com
 145

Design for all, January 2017 VOL.12 No. 1

Guest editor: Prof. Dr. Gerhard M. Buurman
Assistant editor & Graphic design (p. 1–145)
Jalscha Römer www.jalscharoemer.ch
with Laia Ortiz Sansano
Fonts in use: Suisse Int’l and Helvethnoca

A publication of Design for All Institute of India

Chief-Editor: Dr. Sunil Kumar Bhatia
Editor: Shri L. K. Das
Associate Editor: Shri. Amitav Bhowmick
Editorial Board: Mr. M. L. Dhawan, Mr. Pankaj Sharma,
Mr. Pramod Chauhan
Special Correspondent: Ms. Nemisha Sharma

13, Lodhi Institutional Area

Lodhi Road, NEW DELHI – 110 003, INDIA
Tel: +91-11-27853470
[email protected]
www.designforall.in

The guest-editor is not responsible for any copyright

infringements for this issue. Some articles contain
pictures which are subject to the copyright of the authors.
146