This issue of Design Issues explores topics of continuing relevance. It first contains a major collection of special issue essays on the construction of a design history. Also included is a book review on the significance of time in the design of history, a reflective essay on the evolution of design for disability locating it in a new climate of postUniversal Design, and an exhibition review offering some thoughts on our shifting sense of materiality in post-COVID environments. The articles assembled by the guest editors of this special issue of Design Issues explore the designation of “Swiss graphic design,” “Swiss typography,” or “Swiss style” as an international standard applicable to a variety of media, such as, posters, books, corporate identities, and signage systems. This visual standard was claimed to be one of the country’s leading products when proposed to UNESCO in 2014 as an Intangible Cultural Heritage. The guest editors and authors of this special issue observe that the history of Swiss design was initially built by a group of Western, male designers writing about selected objects in a small number of prestigious professional journals, and that many of those texts set out to address a targeted audience of design enthusiasts, which so resulted in a neat history of Swiss graphic design. Hence, this served to reduce its rich past to a small number of actors working within a more narrowly defined timeframe. The guest editors and authors also point out, that because many of these histories were not driven by research questions, they seldom entered into academic discourse or dealt with the complex underlying structures of design research, education, and practice. So, this special issue revisits the history of Swiss graphic design and typography, not as a monolithic label or style, but as a multi-faceted construction within an international discourse. This work has been supported by a grant from the Swiss National Science Foundation—making it their largest funded project in the field of design research. In his review of Design, History and Time: New Temporalities in a Digital Age, Stephen Boyd Davis considers the different emphases of its three sections—the first being dominated by perceptions of time, the second with the interpretation of historical material evidence, and the third with designs that seem to explicitly engage with time. He suggests that one thing clearly emerging from these essays

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介绍

本期设计问题探讨了持续相关的主题。它首先包含了大量关于设计史构建的特刊文章。还包括一篇关于时间在历史设计中的重要性的书评，一篇关于残疾设计演变的反思性文章，将其定位在后通用设计的新气候中，以及一篇展览评论，提供了关于我们转变物质感的一些想法在后 COVID 环境中。本期 Design Issues 特邀编辑汇集的文章探讨了将“瑞士平面设计”、“瑞士排版”或“瑞士风格”指定为适用于各种媒体的国际标准，例如海报、书籍、企业标识和标牌系统。该视觉标准于2014年作为非物质文化遗产提交给联合国教科文组织时，声称是该国的主导产品之一。本期特刊的客座编辑和作者观察到，瑞士设计的历史最初是由一群西方男性设计师在少数著名的专业期刊上撰写有关选定对象的文章而建立的，其中许多文本旨在解决设计爱好者的目标受众，这导致了瑞士平面设计的简洁历史。因此，这有助于将其丰富的过去减少到在更窄定义的时间范围内工作的少数参与者。客座编辑和作者还指出，因为这些历史中的许多不是由研究问题驱动的，他们很少参与学术讨论或处理设计研究、教育和实践的复杂基础结构。因此，本期特刊重温了瑞士平面设计和排版的历史，不是作为单一的标签或风格，而是作为国际话语中的多方面结构。这项工作得到了瑞士国家科学基金会的资助，使其成为设计研究领域最大的资助项目。在对《设计、历史和时间：数字时代的新时间》的评论中，斯蒂芬·博伊德·戴维斯 (Stephen Boyd Davis) 考虑了其三个部分的不同侧重点——第一部分以时间感知为主，第二部分以对历史物证的解释为主，以及第三是似乎明确与时间相关的设计。