Claudia MareisFoto: Regula Bearth, ZHdK

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Designwissenschaft / Designtheorie / Designforschung

Dr. phil. Claudia Mareis ist Design- und Kulturwissenschaftlerin. Seit 2009 ist sie Forschungsdozentin für Designtheorie an der Hochschule der Kuenste Bern HKB. Ihre aktuellen Forschungsschwerpunkte sind: Gestaltungs- und Kunsttheorien im 20. Jahrhundert, hier insbesondere Design als Wissenskultur, Theorie und Geschichte der Designforschung und Designmethodologie, Geschichte und Praxis von Ideenfindungs- und Kreativitätstechniken sowie zeitgenössisches Grafikdesign und Illustration. Neben ihrer Forschungstätigkeit ist sie Dozentin für Designtheorie an der Schule fuer Gestaltung Biel und der Hochschule Luzern Technik & Architektur. Sie ist Vorstandsmitglied der Deutschen Gesellschaft für Designtheorie und -forschung DGTFsowie Mitglied des Board of International Research in Design BIRD des Birkhäuserverlags.

Sie besitzt eine Erstausbildung in Grafikdesign/Visueller Kommunikation, daran anschliessend mehrjährige internationale Berufserfahrung als Designerin u. a. bei Total Design Amsterdam. Ein Zweitstudium in Gestaltungs-, Kunst- und Kulturtheorien absolvierte sie an der Zürcher Hochschule der Künste sowie an der Humboldt-Universität zu Berlin am Institut für Kulturwissenschaften und Ästhetik. 2009 Stipendiatin des Schweizerischen Nationalfonds am Max-Planck-Institut für Wissenschaftsgeschichte Berlin. Promotion zum Dr. phil. 2010 im Fach Kunsttheorien mit einer Arbeit zu ›Design als Wissenskultur. Interferenzen zwischen Design- und Wissensdiskursen sei 1960‹.

English Version:

Dr. phil. Claudia Mareis is a Swiss design- and cultural scientist. She works as regular research lecturer at Berne University of the Arts in the research area communication design. In ‘communication design’, research is conducted into those forms of communication that can be accessed through drafting and designing. The approach adopted to research in design is a practically-oriented and transdisciplinary one. Within this area Claudia Mareis is responsible for the field ‘design as epistemic culture’, where methodology and theory formation for still young design discipline are taken further and established. Furthermore Claudia Mareis is a regular lecturer for design theory and methodology at several swiss design and art schools. She is board member of the ‘Deutsche Gesellschaft für Designtheorie und -forschung’ DGTF and member of the Board of International Research in Design BIRD of Editorhouse Birkhäuser.

Education: Graduation from Art School of Biel/Bienne in Switzerland in Graphic Design. She has several years of professional experience as communication designer, amongst others at Total Design in Amsterdam. Postgraduate studies in art, design and cultural theory at University of the Arts Zürich and Humboldt University Berlin. In 2009 she stayed as Pre-doctoral Fellow at Max-Planck-Institute for the History of Science in Berlin. 2010 she completed her Ph.D. studies at the Institute for Cultural Studies in the Arts Zurich and Art University Linzwith distinction. In her thesis she examines ‘Design as Epistemic Culture. Interferences between Discourses of Design and Knowledge since 1960’. The thesis was reviewed by Prof. Dr. Sigrid Schade, Institute for Cultural Studies in the Arts, Zurich and Prof. Dr. Barbara Paul, Carl von Ossietzky University Oldenburg.

Design as Epistemic Culture
Interferences between Discourses of Design and Knowledge since 1960.

Abstract of doctoral thesis:
Both design and knowledge claim key positions in current debates as concepts with »medial scope, but high strategic meaning«[1], rather than as terms. In design research discourse, these concepts are joined, superimposed and intersect against the background of new views on knowledge and knowledge production.
The thesis of Claudia Mareis investigates interferences between discourses of design and knowledge from a discourse theory perspective beginning in 1960 up until today. The thesis examines how design artefacts and practices are transformed and perpetuated into objects of knowledge by discourse. For this purpose, the thesis explores historical aspects regarding the interrelationship between design and knowledge, and elucidates
relevant key-texts on design theory, such as Simon (1969), Rittel (1992), Schön (1983), Dreyfus/Dreyfus (1988), Archer (1965) and Cross (1982) in a first general part. In a second part, the exemplary subject of investigation is
a text body chosen from current design research discourse. Within this body, significant discursive motifs regarding the interrelationship between design and knowledge are elaborated, problematised and applied to related knowledge discourses and recent results of history of science.

[1] Bröckling, Ulrich et al. (Hg.): Glossar der Gegenwart. Frankfurt a. Main, 2004, S. 10