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Researching Visual Application Respectful of Cultural
Diversity
Ruedi Baura, Ulrike Felsingb *
a HEAD, Geneva School of Art and Design, Switzerland.
b HEAD, Geneva School of Art and Design, Switzerland.
* ulrike.felsing@multilingual-typography.com
Abstract: The general intention of this paper is to provide insight into a problematic
area, that of visual application respectful of cultural diversity, and to demonstrate the
relevance of graphic design research in a societal environment. The paper presents
methods and results from two completed research projects in the field of intercultural
visual communication. The key findings of Research Project 1 are methods of
multilingual typography communicated by type specimens and text samples, annotations
on books, visual examples from Chinese designers and texts. The most important results
of Research Project 2 are visually communicated by 120 newly drawn infographics. In
addition, a new research plan will be discussed, namely the development of visual
identities for public institutions that implement cultural and social diversity policies. The
proposed design methods in all three projects respond to the complexity of changing
social requirements and forms of communication. They have been developed through
visual applications of design that focus on the approach called “research through
design.” The fundamental research goal is to practice sovereign interaction, also with
visual differences, and thus counters the tendency of globalization and
commercialization to equalize differences.
Keywords: diversity; globalization; intercultural visual communication;
multilingual typography; public institution; visual identity.
Introduction
In the course of globalization, mediatization, and digital networking, typefaces from Asian, Latin, and Arabic
origin come together with increasing frequency and characterize the appearance of international institutions,
universities, trade fair sites, airports, internet portals, and city districts. The coexistence of characters from
different cultural backgrounds increasingly affects the basic principles of written communication, principles
which have yet to be fully explored. The following paper presents methods and results from two completed
research projects in the field of intercultural visual communication.
Research project 1 is confined to the following main questions: What practices, knowledge, interdisciplinary,
and transcultural skills are necessary to help communication designers create adequate and differentiated
solutions in a globalized world? How can we simultaneously present information, structures, and designs from
different linguistic and cultural backgrounds and still let these systems equally coexist?
After finishing Research Project 1, we launched 2, shifting our focus to the transcultural potential of graphics,
diagrams, and images from China. In the Ming Dynasty image encyclopedia 三才圖會 Sancai Tuhui (1609), we
found an outstanding collection of diagrams and illustrations that provided us a rich source of graphic clues
about China’s real view of the world. The question is, with what visual means can this image-based knowledge
be made accessible to another cultural context in the current day? To what extent do traditional Chinese
representational forms differ from contemporary Western visual representations?
With the experiences, methods, and skills acquired from the two research projects, we now venture to apply our
method of providing information to a public characterized by a significant linguistic, ethnic, and social
diversity. A third research project is planned to develop a visual identity and signage for a public hospital in
Switzerland as an example of a contemporary globalized, multilingual, and broadly intercultural public
institution.
Before we provide insight into the first two research projects, we wish to outline the field of research—graphic
design research in a social context—on the basis of a few central terms. First of all, the term that defines the
research thematically—diversity. The notion of social ‘diversity’ has been greatly expanded in recent years;
instead of migration research, we now refer to diversity research.1 The reasons for this new focus lie in “general
tendencies towards individualization, an increase in migration-based diversity, an increase in the value of
antidiscrimination discourses.”2
Social design places the original idea of design—the improvement of living conditions—at the center. Most
research projects related to social design can be found in the areas of industrial or urban design rather than
graphic design. How is social design understood in the field of visual communication? With the term “socio-
design—communication design,” Bazon Brock, drawing on Lucius Burckhardt, gave a name to the conceptual
shift in design.3 Socio-design does not refer primarily to the design of objects but to processes of interaction.
Socio-design refers to that which, in our object-like living space, mediates social issues, or that which as a form
1 See Boris Nieswand, “Diversity and Society,” Research report 2010—Max Planck Institute for the Study of Religious and
Ethnic Diversity, 2010, accessed September 8, 2015, http://www.mpg.de/359276/forschungsSchwerpunkt, n.p.
2 Ibid.
3 Bazon Brock, Modern ist’s, wenn man es trotzdem macht, October 1983, accessed September 8, 2015,
http://www.bazonbrock.de/essenzen/?id=232. Brock´s reference is to Lucius Burckhardt, “Design Is Invisible” (1980), in
Lucius Burckhardt Writings: Rethinking Man-made Environments; Politics, Landscape and Design, ed. Jesko Fezer and
Martin Schmitz (Vienna and New York: Springer, 2012).
of action cannot be materialized. Through this branching out into all areas of life, design, as Bruno Latour has
discussed,4 is capable of adding an ethical dimension to reality. It cannot hide behind so-called matters of fact
but functions in terms of social and political coordinates that constantly remain changeable and that also include
contradictions.
The most important issues to which our research projects are linked culminate in the terms “problem-oriented
design”5 and “wicked problems.”6 According to Jesko Fezer, “problem orientation designates the concerns of
relating design to the contradictions, potentials, and circumstances of reality.”7 Coined by Horst Rittel, the term
“wicked problems” is used “for the description of complex, not entirely controllable problems in planning
processes (such as in urban development, healthcare, or public administration).”8
Rittel states that, unlike “tame problems,” “wicked problems” do not lend themselves to exhaustive description,
so that it is hardly possible to pass them onto a third party without additional information for problem solving.9
For this reason, it is also difficult to design a definitive formulation, because it anticipates far into the solution
area. Rittel goes so far as to say that each formulation of a “wicked problem” corresponds to an explanation of
the solution and vice versa. “This means that understanding the problem is identical with solving it.”10
This relates to both the specific “reasoning of designers”11 and the nature of design problems: “There is no clear
separation of the activities of problem definition, synthesis, and evaluation. All of these occur all the time. A
design problem keeps changing while it is treated, because the understanding of what ought to be accomplished,
and how it might be accomplished is continually shifting. Learning what the problem is IS the problem.
Whatever he learns about the problem, becomes a feature of its resolution.”12
Among the most important characteristics of “wicked problems” is that they cannot be completely solved; the
potential to improve the solution always remains. The level of the problem can also be generally recognized in
the case of every “tame problem.” By contrast, “every wicked problem . . . [can] be considered a symptom of
another problem and, of course, since nobody should try to cure symptoms you are never sure that you are
attacking the problem on the right level, for curing symptoms can make the real disease worse.”13 In the end,
Rittel describes every “wicked problem” as being unique: once-discovered solution strategies cannot simply be
transferred onto new questions, because concrete design tasks contain many sub-questions related to the specific
object and correspond to many potential sub-solutions.
4 See Bruno Latour, “A Cautious Prometheus? A Few Steps toward a Philosophy of Design,” in Networks of Design:
Proceedings of the 2008 Annual International Conference of the Design History Society (UK) University College, Falmouth,
3–6 September 2009, ed. Fiona Hackney, Jonathan Glynne, and Viv Minto (Boca Raton: Universal Publishers, 2009), 2–10.
5 Jesko Fezer, in Lucius Burckhardt, Design heisst Entwurf. Studienheft Problemorientiertes Design, 3, ed. Lucius
Burckhardt (Hamburg: Adocs Verlag, 2013), cover. Jesko Fezer accessed March 8, 2016, http://adocs.de/node/95.
6 Horst W. J. Rittel, On the Planning Crisis: Systems Analysis of the First and Second Generations, Reprint 107 (Berkeley:
Institute of Urban and Regional Development, 1972), reprinted from BedriftsØkonomen (Norway), no. 8 (1972).
7 Jesko Fezer, in Lucius Burckhardt, Design heisst Entwurf. Studienheft Problemorientiertes Design, 3, ed. Lucius
Burckhardt (Hamburg: Adocs Verlag, 2013), cover. Jesko Fezer accessed March 8, 2016, http://adocs.de/node/95.
8 Claudia Mareis, Design als Wissenskultur: Interferenzen zwischen Design- und Wissensdiskursen seit 1960 (Bielefeld:
Transcript, 2011), 46.
9 See Rittel, On the Planning Crisis, 392.
10 Ibid.
11 See Horst W. J. Rittel, “The Reasoning of Designers,” Working Paper for the International Congress on Planning and
Design Theory in Boston, MA, August 1987, published in The Universe of Design: Horst Rittel’s Theories of Design and
Planning, ed. Jean-Pierre Protzena and David J. Harris (Abingdon: Routledge, 2010).
12 Ibid., 188–89.
13 See ibid., 393.
Tackling these types of problems, or, formulated positively, challenges, demands that decisions be made at
every step of the solution, or as Jörg Petruschat puts it: making a selection and taking a position.14 Still,
decisions should not be made too soon, that is, before the problem has been adequately discussed. This requires
that we to a certain extent also resist the pressure to want to solve a problem as quickly as possible.
Every research project begins with an intensive examination of the entire field of research, which enables a
deeper understanding of the problem. This approach also distinguishes problem-oriented design from the goal-
oriented solution of an individual assignment. This is because in problem-oriented design “the idea [is not] . . .
the first step.”15 Communication design that is oriented toward higher-level social problems, such as toward the
diversity-compliant representation of public institutions, cannot be oriented exclusively toward single, detached
design tasks. Social and ethical questions require more long-term thinking and thinking in terms of processes.
Dealing with cultural, linguistic, and social differences demands that boundaries be constantly renegotiated.
That’s why they cannot be completely solved; the potential to improve the solution always remains.
Research Projects
The following chapter provides insight into two completed research projects16 and discusses a research plan to
develop visual identities for public institutions that implement cultural and social diversity policies. The
research is based on an intrinsic method of inquiry, whereby the visual analysis of a growing number of
examples is translated graphically in order to establish various degrees and intensities of coexistence. The
clustering of new described variables allows the visual analysis to take on greater depth.
The three presented research projects are consequently based on decades of critical engagement in design issues
for public spaces and institutions within internationally recognized projects by Ruedi Baur. They focus on the
rather urgent present-day needs of intercultural communications to enhance the visual praxis in actual design
applications based on cultural coexistence. The understanding of the actual cultural coexistence directly shapes
the design of applied characters as a typographical research; it shapes and defines the coexistence of visual
cultures as a pictorial research; and it demands a corporate design that is respectful of diversity, which leads to a
systematic combination of typographical and pictorial design research presented in the three given projects.
Research Project 1: The Coexistence of Chinese and Latin Characters
To begin, five preparatory workshops were conducted at Chinese art and design universities: March 2009: Hong
Kong Polytechnic University (School of Design); April 2009: Nanjing University of Art and Design (School of
Design); October 2009: China Academy of Arts, Hangzhou; November 2009: Luxun Academy of Arts, Dalian;
14 See Jörg Petruschat, “Wicked Problems,” lecture at the conference “Practice-Based Research,” Bauhaus University,
Weimar, December 2, 2011, accessed September 8, 2015,
http://www.redesign.cc/Petruschat/Wicked_Problems_2_files/58_Petruschat_Wicked_Problems.pdf.
15 Ibid., 12.
16 For an extensive presentation of the first research period, see Ruedi Baur, Ulrike Felsing, and Roman Wilhelm (Eds.), Die
Koexistenz der chinesischen und lateinischen Zeichen, special issue of Typografische Monatsblätter, no. 4–5 (2012); see also
“Coexistence of Symbols,” Civic City, accessed May 17, 2016, from http://civic-city.org/?page_id=790#?page_id=1076.
and March 2010: Central Academy of Arts, Beijing. In November 2007, we had a kick-off workshop at the
Zurich University of the Arts (Design Department).
Historical Introduction
Historically, “multilingual typography” has a long tradition, as seen in the multilingual Bible editions of the
Christian missionary presses and historic research reports by the Jesuits in China. In the mid-nineteenth century,
inventions and innovations by, among others, William Gamble of the American Presbyterian Missionary Press,
Commercial Press, and Kaiming Shudian, as well as endeavors after the founding of the People’s Republic of
China all made significant contributions to the formation of a modern Chinese typography.
Contemporary research approaches in the area of multilingual typography often explore the development of new
typefaces from a combination of two different writing systems. Among the most important analyses here are the
series of publications beginning with Typographic Matchmaking by the typographer and designer Huda
Smitshuijzen AbiFarès.17 The book presents Latin characters that a team of Arabic and Dutch designers
expanded using Arabic characters. A further publication, Typographic Matchmaking in the City,18 examines
multilingualism in the urban context.
As early as 1967–70, the typographer and designer Helmut Schmid, a pioneer in the area of multilingual
typography, developed a character set with the syllabary face Katakana Eru, which is situated conjunctively
between Japanese characters and the Latin alphabet, and creates a harmonious combination of the different
character sets.19 This work also foregrounds the new development of writing.
Even so, arriving at an equitable communication with font and character sets from different cultures does not
only require the development of new typeface and character systems. Above all it demands researching the
basics of multilingual design and developing methods for the visualization of information that enables the
coexistence of characters from different languages. With “coexistence” we are referring to the equal interaction
of characters and typographies from different cultures.
Chinese typography has possessed multi-script characteristics since as early as the 1950s, when, in the context
of “modernization” among other things, Arabic numerals and certain Latin punctuation were adopted. Since the
economic opening of the country in the 1980s, this ongoing process triggered a reflection on new methods for
the visual depiction of information in different languages and the coexistence of Latin and Chinese characters.
At this point, however, a content-related and methodical discrepancy emerges between Western and Chinese
typographic practice: whereas the former focuses on the range between micro and macro typography, the latter
concentrates more on stylistically modifying individual characters for the purpose of individual letterings.
Standards of micro typography (e.g., digital typesetting standards) are still widely neglected, if you don’t take
into account personal research efforts, lectures, or publications. As a result, Keith Chi-hang Tam, former
professor at the Hong Kong Polytechnic University School of Design (currently at the University of Reading), is
striving to introduce complex typography as a discipline specific to the Chinese context. Similarly, Chinese
typeface designer Sammy Or is engaged in expanding typography as an equitable subject within visual
communication departments at academic institutions. Excellence in the area of multi-script typeface design also
17 Huda Smitshuijzen AbiFarès, Typographic Matchmaking: Building Cultural Bridges with Typeface Design: 5 Arab-Dutch
Design Teams Create Arabic Companions for Latin Fonts (Amsterdam: BIS Publishers, 2007).
18 Huada Smitshuijzen AbiFarès, ed., Typographic Matchmaking in the City: Propositions for a Pluralistic Public Space.
(Amsterdam: Khatt Books, 2010).
exists in Taiwan, such as at the metal-type workshop of Ri-Xing (日星) in Taipei, which also produces new
typefaces, or the foundry Arphic Type (文鼎).
Goals
The goal of the overall research is the development of design methods for the visualization of multilingualism.
The first research project focused on the formulation of questions and requirements resulting specifically from
the coexistence of Chinese and Latin characters. It is part of a planned research cluster program to extend the
knowledge acquired from the preliminary research to other writing systems and visual cultures, including
Arabic, Cyrillic, and Hindi. It made sense, in this case, to start the research cluster with an initial investigation
into the universe of Chinese characters, as none of the writing systems in use today are formed in such a
different way in relation to the Latin alphabet.
The significance of this project lies in the collaborative research on a long-inevitable question. A new,
pioneering field of design was researched with the goal of promoting transcultural exchange and enabling
equality in the visual representation of information from different language regions to make a productive
contribution to the ongoing process of globalization. The conscious engagement with foreign characters was
meant to allow designers to deal creatively, in a novel way, with their own writing system. Doing this requires
certain design skills to be able to relate the characters of “one’s own language” to other writing cultures.
Moreover, it requires special knowledge and sensitivity for the juxtaposition of several cultures.
Process of Research
Analysis: The data collection and findings about the fundamental differences between Chinese and Latin
writing systems were based on an analysis and a comparison of Chinese and Latin characters in the area of
micro and macro typography. “Micro typography” refers to the spacing between letters or symbols, glyphs of all
sorts, the design of words and lines. This concerned in particular the typographic presentation of short word
units, with respect to their use for letterings in the area of corporate design and in orientation systems. About
200 pictures of bilingual signage and lettering from actual urban public spaces in Asia and Europe have been
compiled for the visual analysis, specifically to put an emphasis on the slightly varying definitions of micro and
macro typography and their relatedness to scripts in the locales discussed. While the Japanese writing system
uses four distinct scripts (Kanji, Hiragana, Katakana, and Romaji; Emoji starting to be considered number five),
the Chinese one uses only two (Hanzi, Roman letters and numbers). Depending on the distinct place of usage
(Hong Kong or Taiwan are different from mainland China), deliberate foreign language terms are increasingly
seen within the fabric of texts or letterings. While multi-script issues in distinct locale-based typography
practice are mainly on the micro side of typography, deliberate multilingual design practice can only be
approached by means of macro typography. If there are already many kinds of differences between the different
scripts of a multi-script writing system representing a single language, how could we possibly define the
differences and analogies when it comes to several languages having to relate to each other? Thinking of two
layers of the same issue, we therefore used the same terms to distinguish between the “coexistence of
characters” (multi-script micro typography) and the “coexistence of texts” (multilingual page layout issues).
19 See Helmut Schmid, Typography Today (Basel: Birkhäuser, 2006).
General formal differences between the writing systems in the micro area include the following: whereas Latin
letters are aligned along the baseline and bounded by the x-height as well as by ascenders and descenders,
Chinese characters are aligned along a central axis and have no fixed boundary lines above and below. In
addition, word length in Western typesetting varies, while Chinese characters are always based on the square.
The majority of Chinese characters have not just one but several meanings. By contrast, the letters of the Latin
alphabet each correspond to a clearly defined phonetic sound.
Moreover, we also examined exemplary design practices of multilingual typography regarding macro
typography—typographical arrangement and conception. Here, approximately fifty books of multilingual
literature, dictionaries, international magazines, and others were used for the visual analysis. The different
layers of multilingual layout were made visible by reproductions of chosen multilingual print media, as well as
by small commentaries directly referring to the page layout (Figure 1). By means of direct comparison, various
problem areas and possible solutions were presented. They were always accompanied by a detailed analysis,
thus allowing for a deepening of the reflection, both on a visual and on a verbal level. The aim was then to
derive from the so found qualitative differences applicable visual design criteria, with which the differences
between the Chinese and Latin writing systems can be balanced out.
61
关
联
的
设
计
文
字
并
存
的
几
个
程
度
Gestaltung von Relationen G rade der Koexistenz
Eine bilingual chinesisch-deutsche Arbeitsausgabe
des 道德经 dàodéjīng von 老子lǎozǐ (Laotse) unter-
scheidet fünf Ebenen. Der altchinesische Quelltext
[1] ist bedingt durch die Vieldeutigkeit der Zeichen
und ihrer Kombinationen auf zahlreiche Arten zu-
gleich interpretierbar. Selbst antike chinesische
Ausgaben führen deshalb zwischen den einzelnen
Zeilen des Quelltextes Kommentare auf, die den
Verstehensprozess unterstützen [vgl. S. 54–57]. Die
Pinyin-Umschrift [2, vgl. S. 24 f.] richtet sich nach
der zeitgemässen Lesung (eine zusätzliche altchine-
sische Lesung wäre hilfreich, doch sicher aus
Platzgründen in dieser Ausgabe nicht möglich). Die
deutsche Übersetzung auf der rechten Seite [3]
nimmt die doppelte Spaltenbreite ein, um die län-
geren Zeilen auf möglichst gleichem Niveau zu
halten. Vorliegende Übersetzung ist nur eine Ent-
scheidung von vielen – ein Umstand, der durch
Kommentare [4] deutlich gemacht wird. Diese sind
so ausführlich, dass sie auf den nächsten Seiten
fortgeführt werden, bis ein neuer Abschnitt auf die
hier sichtbare Weise vorgestellt wird. Generische
Elemente [5, vgl. S. 24 f.] sind hier lediglich die Zeilen-
und Abschnittsnummerierung, Trennlinien und
Pagina. In den ersten Abschnitten des Buches kommt
noch eine sechste Ebene hinzu: eine wörtliche
deutsche Übersetzung, welche der Anordnung der
chinesischen Zeichen folgt. Im Gegensatz zu den
bereits vorgestellten historischen Werken spielt die
Farbe hier keine Rolle.
Gleichzeitig gibt diese Ausgabe auch Beispiele für
den ersten Grad der Koexistenz, das Wieder-
geben der chinesischen Zeichen trägt zum Verständ-
nis des Textes bei. Für einen Schritt in Richtung
«Gleichberechtigte Koexistenz» ist es wesentlich,
chinesische Begriffe in ihrer Originalsprache
aufzuführen. Durch die Wiederholung der gleichen
Begriffe in immer wieder anderen Zusammen-
hängen werden die Leser allmählich mit dem Schrift-
bild und der Tragweite der chinesischen Begriffs-
welt vertraut gemacht.
Der Kommentarteil ist komplett eingerückt, damit
er sich deutlich von Quelltext und Übersetzung
abhebt. In traditionellen chinesischen Werken wird
diese Unterscheidung durch Schriftwahl, -grösse
bzw. -farbe betont [vgl. S. 56].
㊪ㄯ⡒፯㉾㉤ńńᓵജཧഝͷ╒Κݿ╒́ྎ
Über die Gestaltung multilingualer Typografie – Der zweite und dritte Grad der Koexistenz
Literatur zum Thema
→
Bray, F., Dorofeeva-Lichtmann, V., taili,
G. (Eds.). (27). Graphics and Text in the
Production of Technical Knowledge in hina.
Leiden: Brill.
→ Geldsetzer, L., ong, . (1).
Grundlagen der chinesischen Philosophie.
Stuttgart: Reclam.
→ an, B.-. (211). Shanzhai :
Dekonstruktion auf hinesisch. Berlin: erve.
→ Stoltz, U. (211). KREUZ QUER IN
ER – Nicht-lineares Lesen im Buch ein
Kaleidoskop. Offenbach am ain Braun-
schweig: Stoltz.
6
关
联
的
设
计
文
字
并
存
的
几
个
程
度
Gestaltung von Relationen G rade der Koexistenz
g. a [Gestaltung von Relationen → ultilinguale edien → Der erste Grad der Koexistenz, S. 4]
[4]
[5]
[2]
[1]
[3]
[5]
[5]
Durch den hohen Anteil der Kommentare ist das Lesen chinesischer
Klassiker nie linear gewesen. Die verschiedenen Elemente dieser
zweisprachigen Ausgabe verstärken die Diskontinuität noch um ein
Vielfaches.
61
关
联
的
设
计
文
字
并
存
的
几
个
程
度
Gestaltung von Relationen G rade der Koexistenz
Eine bilingual chinesisch-deutsche Arbeitsausgabe
des 道德经 dàodéjīng von 老子lǎozǐ (Laotse) unter-
scheidet fünf Ebenen. Der altchinesische Quelltext
[1] ist bedingt durch die Vieldeutigkeit der Zeichen
und ihrer Kombinationen auf zahlreiche Arten zu-
gleich interpretierbar. Selbst antike chinesische
Ausgaben führen deshalb zwischen den einzelnen
Zeilen des Quelltextes Kommentare auf, die den
Verstehensprozess unterstützen [vgl. S. 54–57]. Die
Pinyin-Umschrift [2, vgl. S. 24 f.] richtet sich nach
der zeitgemässen Lesung (eine zusätzliche altchine-
sische Lesung wäre hilfreich, doch sicher aus
Platzgründen in dieser Ausgabe nicht möglich). Die
deutsche Übersetzung auf der rechten Seite [3]
nimmt die doppelte Spaltenbreite ein, um die län-
geren Zeilen auf möglichst gleichem Niveau zu
halten. Vorliegende Übersetzung ist nur eine Ent-
scheidung von vielen – ein Umstand, der durch
Kommentare [4] deutlich gemacht wird. Diese sind
so ausführlich, dass sie auf den nächsten Seiten
fortgeführt werden, bis ein neuer Abschnitt auf die
hier sichtbare Weise vorgestellt wird. Generische
Elemente [5, vgl. S. 24 f.] sind hier lediglich die Zeilen-
und Abschnittsnummerierung, Trennlinien und
Pagina. In den ersten Abschnitten des Buches kommt
noch eine sechste Ebene hinzu: eine wörtliche
deutsche Übersetzung, welche der Anordnung der
chinesischen Zeichen folgt. Im Gegensatz zu den
bereits vorgestellten historischen Werken spielt die
Farbe hier keine Rolle.
Gleichzeitig gibt diese Ausgabe auch Beispiele für
den ersten Grad der Koexistenz, das Wieder-
geben der chinesischen Zeichen trägt zum Verständ-
nis des Textes bei. Für einen Schritt in Richtung
«Gleichberechtigte Koexistenz» ist es wesentlich,
chinesische Begriffe in ihrer Originalsprache
aufzuführen. Durch die Wiederholung der gleichen
Begriffe in immer wieder anderen Zusammen-
hängen werden die Leser allmählich mit dem Schrift-
bild und der Tragweite der chinesischen Begriffs-
welt vertraut gemacht.
Der Kommentarteil ist komplett eingerückt, damit
er sich deutlich von Quelltext und Übersetzung
abhebt. In traditionellen chinesischen Werken wird
diese Unterscheidung durch Schriftwahl, -grösse
bzw. -farbe betont [vgl. S. 56].
㊪ㄯ⡒፯㉾㉤ńńᓵജཧഝͷ╒Κݿ╒́ྎ
Über die Gestaltung multilingualer Typografie – Der zweite und dritte Grad der Koexistenz
Literatur zum Thema
→
Bray, F., Dorofeeva-Lichtmann, V.,
taili,
G. (Eds.). (27). Graphics and Text in the
Production of Technical Knowledge in hina.
Leiden: Brill.
→ Geldsetzer, L., ong, . (1).
Grundlagen der chinesischen Philosophie.
Stuttgart: Reclam.
→ an, B.-. (211). Shanzhai :
Dekonstruktion auf hinesisch. Berlin: erve.
→ Stoltz, U. (211). KREUZ QUER IN
ER – Nicht-lineares Lesen im Buch ein
Kaleidoskop. Offenbach am ain Braun-
schweig: Stoltz.
6
关
联
的
设
计
文
字
并
存
的
几
个
程
度
Gestaltung von Relationen G rade der Koexistenz
g. a [Gestaltung von Relationen → ultilinguale edien → Der erste Grad der Koexistenz, S. 4]
[4]
[5]
[2]
[1]
[3]
[5]
[5]
Durch den hohen Anteil der Kommentare ist das Lesen chinesischer
Klassiker nie linear gewesen. Die verschiedenen Elemente dieser
zweisprachigen Ausgabe verstärken die Diskontinuität noch um ein
Vielfaches.
Eine bilingual chinesisch-deutsche Arbeitsausgabe
des 道德经 dàodéjīng von 老子lǎozǐ (Laotse) unter-
scheidet fünf Ebenen. Der altchinesische Quelltext
[1] ist bedingt durch die Vieldeutigkeit der Zeichen
und ihrer Kombinationen auf zahlreiche Arten zu-
gleich interpretierbar. Selbst antike chinesische
Ausgaben führen deshalb zwischen den einzelnen
Zeilen des Quelltextes Kommentare auf, die den
Verstehensprozess unterstützen [vgl. S. 54–57]. Die
Pinyin-Umschrift [2, vgl. S. 24 f.] richtet sich nach
der zeitgemässen Lesung (eine zusätzliche altchine-
sische Lesung wäre hilfreich, doch sicher aus
Platzgründen in dieser Ausgabe nicht möglich). Die
deutsche Übersetzung auf der rechten Seite [3]
nimmt die doppelte Spaltenbreite ein, um die län-
geren Zeilen auf möglichst gleichem Niveau zu
halten. Vorliegende Übersetzung ist nur eine Ent-
scheidung von vielen – ein Umstand der durch
Kommentare [4] deutlich gemacht wird. Diese sind
so ausführlich, dass sie auf den nächsten Seiten
fortgeführt werden, bis ein neuer Abschnitt auf die
hier sichtbare Weise vorgestellt wird. Generische
Elemente [5, vgl. S. 24 f.] sind hier lediglich die Zeilen-
und Abschnittsnummerierung, Trennlinien und
Pagina. In den ersten Abschnitten des Buches kommt
noch eine sechste Ebene hinzu: eine wörtliche
deutsche Übersetzung, welche der Anordnung der
chinesischen Zeichen folgt. Im Gegensatz zu den
bereits vorgestellten historischen Werken spielt die
Farbe hier keine Rolle.
Gleichzeitig gibt diese Ausgabe auch Beispiele für
den ersten Grad der Koexistenz, das Wieder-
geben der chinesischen Zeichen trägt zum Verständ-
nis des Textes be i. Für ei ne n S chr itt in Ri ch tun g
«Gleichberechtigte Koexistenz» ist es wesentlich,
chinesische Begriffe in ihrer Originalsprache
aufzuführen. Durch die Wiederholung der gleichen
Begriffe in immer wieder anderen Zusammen-
hängen werden die Leser allmählich mit dem Schrift-
bild und der Tragweite der chinesischen Begriffs-
welt vertraut gemacht.
Der Kommentarteil ist komplett eingerückt, damit
er sich deutlich von Quelltext und Übersetzung
abhebt. In traditionellen chinesischen Werken wird
diese Unterscheidung durch Schriftwahl, -grösse
bzw. -farbe betont [vgl. S. 56].
g. a [Gestaltung von Relationen → ultilinguale edien → Der erste Grad der Koexistenz, S. 4]
[4]
[5]
[2]
[1]
[3]
[5]
Durch den hohen Anteil der Kommentare ist das Lesen chinesischer
Klassiker nie linear gewesen. Die verschiedenen Elemente dieser
zweisprachigen Ausgabe verstärken die Diskontinuität noch um ein
vielfaches.
Figure 1. Bilingual chinese-german edition of 道德经 Dàodéjīng from 老子 Lǎozǐ (Laozi). This example shows how the
different layers of multilingual layout were made visible by small commentaries directly referring to the page layout.
The Development of New Design Methods: Subsequently, design variants of relationships between the writing
systems were produced that are characterized by different qualities. Here we designed “balanced,”
“dominating,” and “corresponding” relationships. The goal was to achieve an equitable interaction of characters
and typographies, but how is equitability defined? While characteristic differences of both writing systems are
to be retained, equivalents, transitions, and relations are also to be produced, because the writing systems are
meant to enter into a “dialogue.” If at least one aspect of the characters creates equivalence—through related
color, formal aspects, brightness, materiality, font type, and style—then the other aspects may be different. The
shorter the text, the more the “notational iconicity”20 stands out, and the two writing systems interact directly.
General typographical rules of “coexistence” were adhered to in text form and illustrated by model sentences
and texts as well as by means of exemplary designs by Chinese designers (Figure 2). In addition, schemata for
the micro-typographical area were developed that demonstrate the general formal differences between
individual characters (Figure 3). An equalizing effect can be achieved here by balancing out differences. Here,
attention should be paid to, among other things, the choice of font, spatial proportioning, column width,
sentence length, but also the inclusion of images and captions and the use of the Romanized phonetic
transcription “Pinyin.” Figures 2 to 4 belong to a group of about twenty visual examples that have been created
by the research team in order to demonstrate the various aspects of the coexistence of characters and
typographies.
26
关
联
的
设
计
对
应
词
Gestaltung von Relationen Wort paare
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF
ULTRA
MING
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN
CAECILIA
+
KOZUKA
GOTHIC
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE
INITIATIVE
ARRIVAL
+
DF
ULTRA
HEI
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
Barcelona巴塞隆拿
−Beijing北京 k
pHamburg
漢堡−Shanghai上海
London倫敦−Hong
Kong香港 i
mMacao
澳門−Porto 波爾圖
M
arseille馬賽−Qingdao
青島 k
oGenua
熱那亞−Ningbo寧波
Kalkutta 加爾各答
−Zhoushan 舟山 k
Rotterdam鹿特丹−Shenzhen
Shekou深圳蛇口 l
Kapstadt
−Guangzhou k
59 pt
59 pt 50 pt
60 pt 59 pt
59 pt
59 pt
58 pt 50 pt
50 pt
58 pt
60 pt
59 pt
58 pt 50 pt
58 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt 59 pt 60 pt
58 pt
50 pt 58 pt 50 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt
50 pt 60 pt
50 pt
59 pt
50 pt
50 pt
59 pt 50 pt
60 pt
50 pt
59 pt
60 pt50 pt
50 pt
50 pt
59 pt 50 pt
50 pt
50 pt 60 pt
100 250
100 250
100
100
100100
250
100
250
100
100
100 250
100250
100
100 250
100
100250
100
100 250
100
Kozuka CJK Hyphen
Kozuka CJK Hyphen
g. a
2
关
联
的
设
计
对
应
词
Ge staltung von Relationen Wortp aare
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
FF
DIN
+
DF
LI
KINGHEI
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE
GARAMOND
PRO
+
HIRAGINO
MINCHO
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE
FANGSONG
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE
CASLON
PRO
+
DF
LI
SONG
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ
GROTESK
+
DF
LI
HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE
HAAS
GROTESK
+
MONOTYPE
SUNG
NEUE HAAS GROTESK
+
MONOTYPE SUNG
Barcelona巴塞隆拿−
Beijing北京 k
pHamburg
漢堡−Shanghai上海
London倫敦−Hong
Kong香港 i
mMacao
澳門−Porto 波爾圖
Marseille馬賽−Qingdao
青島 k
oGenua
熱那亞−Ningbo寧波
Kalkutta 加爾各答−
Zhoushan 舟山 k
Rotterdam鹿特丹−Shenzhen
Shekou深圳蛇口 l
Kapstadt −
Guangzhou k
59 pt
59 pt 50 pt
60 pt 59 pt
59 pt
59 pt
58 pt 50 pt
50 pt
58 pt
60 pt
59 pt
58 pt 50 pt
58 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt 59 pt 60 pt
58 pt
50 pt 58 pt 50 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt
50 pt 60 pt
50 pt
59 pt
50 pt
50 pt
59 pt 50 pt
60 pt
50 pt
59 pt
60 pt50 pt
50 pt
50 pt
59 pt 50 pt
50 pt
50 pt 60 pt
100 250
100 250
100
100
100100
250
100
250
100
100
100 250
100250
100
100 250
100
100250
100
100 250
100
Kozuka CJK Hyphen
Kozuka CJK Hyphen
26
关
联
的
设
计
对
应
词
Gestaltung von Relationen Wo rtpaa re
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
Barcelona巴塞隆拿
−Beijing北京 k
pHamburg
漢堡−Shanghai上海
London倫敦−Hong
Kong香港 i
mMacao
澳門−Porto 波爾圖
Marseille馬賽−Qingdao
青島 k
oGenua
熱那亞−Ningbo寧波
Kalkutta 加爾各答
−Zhoushan 舟山 k
Rotterdam鹿特丹−Shenzhen
Shekou深圳蛇口 l
Kapstadt
−Guangzhou k
59 pt
59 pt 50 pt
60 pt 59 pt
59 pt
59 pt
58 pt 50 pt
50 pt
58 pt
60 pt
59 pt
58 pt 50 pt
58 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt 59 pt 60 pt
58 pt
50 pt 58 pt 50 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt
50 pt 60 pt
50 pt
59 pt
50 pt
50 pt
59 pt 50 pt
60 pt
50 pt
59 pt
60 pt50 pt
50 pt
50 pt
59 pt 50 pt
50 pt
50 pt 60 pt
100 250
100 250
100
100
100100
250
100
250
100
100
100 250
100250
100
100 250
100
100250
100
100 250
100
Kozuka CJK Hyphen
Kozuka CJK Hyphen
g. a
2
关
联
的
设
计
对
应
词
Gestaltung von Relationen Wo rtpaa re
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
Barcelona巴塞隆拿−
Beijing北京 k
pHamburg
漢堡−Shanghai上海
London倫敦−Hong
Kong香港 i
mMacao
澳門−Porto 波爾圖
Marseille馬賽−Qingdao
青島 k
oGenua
熱那亞−Ningbo寧波
Kalkutta 加爾各答−
Zhoushan 舟山 k
Rotterdam鹿特丹−Shenzhen
Shekou深圳蛇口 l
Kapstadt −
Guangzhou k
59 pt
59 pt 50 pt
60 pt 59 pt
59 pt
59 pt
58 pt 50 pt
50 pt
58 pt
60 pt
59 pt
58 pt 50 pt
58 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt 59 pt 60 pt
58 pt
50 pt 58 pt 50 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt
50 pt 60 pt
50 pt
59 pt
50 pt
50 pt
59 pt 50 pt
60 pt
50 pt
59 pt
60 pt50 pt
50 pt
50 pt
59 pt 50 pt
50 pt
50 pt 60 pt
100 250
100 250
100
100
100100
250
100
250
100
100
100 250
100250
100
100 250
100
100250
100
100 250
100
Kozuka CJK Hyphen
Kozuka CJK Hyphen
26
关
联
的
设
计
对
应
词
Gestaltung von Relationen Wo rtpaa re
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
FF DIN
+
DF LI KINGHEI
AVENIR
+
DF ULTRA MING
ADOBE GARAMOND PRO
+
HIRAGINO MINCHO
SWIFT
+
SINOTYPE FANGSONG
PMN CAECILIA
+
KOZUKA GOTHIC
ADOBE CASLON PRO
+
DF LI SONG
TYPE INITIATIVE
ARRIVAL
+
DF ULTRA HEI
BERTHOLD
AKZIDENZ GROTESK
+
DF LI HEI
NEUE HAAS GROTESK
+
MONOTYPE SUNG
Barcelona巴塞隆拿−Beijing北京 k
pHamburg漢堡−Shanghai 上海
London倫敦−HongKong 香港 i
mMacao 澳門−Porto 波爾圖
Marseille馬賽−Qingdao青島 k
oGenua熱那亞−Ningbo寧波
Kalkutta 加爾各答−Zhoushan 舟山 k
Rotterdam鹿特丹−Shenzhen Shekou深圳蛇口 l
Kapstadt −Guangzhou k
59 pt
59 pt 50 pt
60 pt 59 pt
59 pt
59 pt
58 pt 50 pt
50 pt
58 pt
60 pt
59 pt
58 pt 50 pt 58 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt 59 pt 60 pt
58 pt 50 pt 58 pt 50 pt
50 pt
50 pt 60 pt
50 pt
50 pt
59 pt 50 pt 60 pt
50 pt
59 pt 50 pt
50 pt
59 pt 50 pt60 pt
50 pt
59 pt 60 pt50 pt
50 pt
50 pt
59 pt 50 pt
50 pt
50 pt 60 pt
100 250
100 250
100
100
100100250
100 250100
100 100 250
100250 100
100 250100
100250
100
100 250
100
Kozuka CJK Hyphen
Kozuka CJK Hyphen
g. a
Figure 2. This typographical example illustrates general rules of “coexistence,” the equal interaction of characters by means
of size, weight, and style.
20 See Sybille Krämer, “Schriftbildlichkeit oder: Über eine (fast) vergessene Dimension der Schrift,” in Bild—Schrift—Zahl,
ed. Sybille Krämer and Horst Bredekamp (Munich: Fink, 2003), 157–176.
几何中线
Mathematic center line
视觉中线
Optical center line
字高
Body size 十字路口
字的空间
body clearance
字的空间
body clearance
沉降／小楷字母降部
／下降笔画
decender
字高／高度
x-height
大楷字母高度
caps height
字高
body size
提升／小楷字母升部
／上升笔画
ascender
窦
窦dòu
简体字jiǎntǐzì
繁体字fǎntǐzì
汉字的多样变体
受政治因素的影响， 汉字的写法因地而异。“窦”字在风格和样式上还
与篆书相近［见第页图］。这个字如今在日文和韩文中还在使用。在
我们的实例中该字在台湾［见第页图］和香港［见第 页图 ］的多
处变化清晰可见。最大的变化则是 年在中国大陆进行的文字改革，
也就是现在一直使用的简体字［见第页图］。在很多情况下，繁体和
简体字之间甚至没有相同之处。两种字的灰度值也有很大区别。第页
图使用相同的 编码（与字体相关），而图则有自己的编码
（与字相 关）。
英文版的可以将文字行以基线网格对齐。在中文版（同日文与
韩文版）中，可以将视觉中线做为基线，这为中文排版带来了方便。但
基线与视觉中线之间很难结合。
Hamburg
16
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
十字路口 ﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有。
Hamburg
1
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
十字路口 ﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有。
1
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
几何中线
Mathematic center line
视觉中线
Optical center line
字高
Body size
十字路口
Hg
Hg
Hg
Hg
Hg
Hg
Hg
Hg
Hg
Hg
字的空间
body clearance
字的空间
body clearance
沉降／小楷字母降部
／下降笔画
decender
字高／高度
x-height
大楷字母高度
caps height
字高
body size
提升／小楷字母升部
／上升笔画
ascender
窦
窦dòu
简体字jiǎntǐzì
繁体字fǎntǐzì
汉字的多样变体
受政治因素的影响，汉字的写法因地而异。“窦”字在风格和样式上还
与篆书相近［见第页图］。这个字如今在日文和韩文中还在使用。在
我们的实例中该字在台湾［见第页图］和香港［见第 页图 ］的多
处变化清晰可见。最大的变化则是 年在中国大陆进行的文字改革，
也就是现在一直使用的简体字［见第页图］。在很多情况下，繁体和
简体字之间甚至没有相同之处。两种字的灰度值也有很大区别。第页
图使用相同的 编码（与字体相关），而图则有自己的编码
（与字相 关）。
英文版的可以将文字行以基线网格对齐。在中文版（同日文与
韩文版）中，可以将视觉中线做为基线，这为中文排版带来了方便。但
基线与视觉中线之间很难结合。
Hamburg
16
关
联
的
设
计
字
里
行
间
G estaltung von Relationen Im Inne ren der Zeichen
十字路口
十字路口
十字路口
十字路口
﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有。
1
关
联
的
设
计
字
里
行
间
G estaltung von Relationen Im Inne ren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
几何中线
Mathematic center line
视觉中线
Optical center line
字高
Body size 十字路口
字的空间
body clearance
字的空间
body clearance
沉降／小楷字母降部
／下降笔画
decender
字高／高度
x-height
大楷字母高度
caps height
字高
body size
提升／小楷字母升部
／上升笔画
ascender
窦
窦dòu
简体字jiǎntǐzì
繁体字fǎntǐzì
汉字的多样变体
受政治因素的影响， 汉字的写法因地而异。“窦”字在风格和样式上还
与篆书相近［见第页图］。这个字如今在日文和韩文中还在使用。在
我们的实例中该字在台湾［见第页图］和香港［见第 页图 ］的多
处变化清晰可见。最大的变化则是 年在中国大陆进行的文字改革，
也就是现在一直使用的简体字［见第页图］。在很多情况下，繁体和
简体字之间甚至没有相同之处。两种字的灰度值也有很大区别。第页
图使用相同的 编码（与字体相关），而图则有自己的编码
（与字相 关）。
英文版的可以将文字行以基线网格对齐。在中文版（同日文与
韩文版）中，可以将视觉中线做为基线，这为中文排版带来了方便。但
基线与视觉中线之间很难结合。
Hamburg
16
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
十字路口 ﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有。
1
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
几何中线
Mathematic center line
视觉中线
Optical center line
字高
Body size 十字路口
字的空间
body clearance
字的空间
body clearance
沉降／小楷字母降部
／下降笔画
decender
字高／高度
x-height
大楷字母高度
caps height
字高
body size
提升／小楷字母升部
／上升笔画
ascender
窦
窦dòu
简体字jiǎntǐzì
繁体字fǎntǐzì
汉字的多样变体
受政治因素的影响， 汉字的写法因地而异。“窦”字在风格和样式上还
与篆书相近［见第页图］。这个字如今在日文和韩文中还在使用。在
我们的实例中该字在台湾［见第页图］和香港［见第 页图 ］的多
处变化清晰可见。最大的变化则是 年在中国大陆进行的文字改革，
也就是现在一直使用的简体字［见第页图］。在很多情况下，繁体和
简体字之间甚至没有相同之处。两种字的灰度值也有很大区别。第页
图使用相同的 编码（与字体相关），而图则有自己的编码
（与字相 关）。
英文版的可以将文字行以基线网格对齐。在中文版（同日文与
韩文版）中，可以将视觉中线做为基线，这为中文排版带来了方便。但
基线与视觉中线之间很难结合。
Hamburg
16
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
几何中线
Mathematic center line
视觉中线
Optical center line
字高
Body size 十字路口
字的空间
body clearance
字的空间
body clearance
沉降／小楷字母降部
／下降笔画
decender
字高／高度
x-height
大楷字母高度
caps height
字高
body size
提升／小楷字母升部
／上升笔画
ascender
窦
窦dòu
简体字jiǎntǐzì
繁体字fǎntǐzì
汉字的多样变体
受政治因素的影响， 汉字的写法因地而异。“窦”字在风格和样式上还
与篆书相近［见第页图］。这个字如今在日文和韩文中还在使用。在
我们的实例中该字在台湾［见第页图］和香港［见第 页图 ］的多
处变化清晰可见。最大的变化则是 年在中国大陆进行的文字改革，
也就是现在一直使用的简体字［见第页图］。在很多情况下，繁体和
简体字之间甚至没有相同之处。两种字的灰度值也有很大区别。第页
图使用相同的 编码（与字体相关），而图则有自己的编码
（与字相 关）。
英文版的可以将文字行以基线网格对齐。在中文版（同日文与
韩文版）中，可以将视觉中线做为基线，这为中文排版带来了方便。但
基线与视觉中线之间很难结合。
Hamburg
16
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
十字路口 ﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
窦窦
窦
窦
窦
窦
窦
窦
窦
窦
窦
窦
窦
窦
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有。
1
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
十字路口 ﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
竇竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有。
1
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
十字路口 ﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有。
1
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
十字路口 ﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有。
竇竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
竇
1
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
十字路口 ﹁
口
字
﹂
高
度
口
u
口
u
﹁
十
字
﹂
高
度
「
十
」
sh
「
十
」
sh
体 idden cone
字 set idth
提升线／线 ascender line
大楷线／大楷字母高线capital line
中线／中线 mean line
基线 baseline
沉降线／线 descender line
字母度
set idth
shui
一y
字shzì lu
英文字体地基线与字高度。中文字体视觉中线。基
视觉，个汉字的高度与度一样最高的是“”字，最
的是“”字（别同“”字）。如“一”字，还有
。
1
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
ᨅജࠟዉ̽ജᦣ⇯כ㚹⠕ᙩ
Über die innere Struktur der chinesischen und lateinischen Zeichen
几何中线
Mathematic center line
视觉中线
Optical center line
字高
Body size 十字路口
字的空间
body clearance
字的空间
body clearance
沉降／小楷字母降部
／下降笔画
decender
字高／高度
x-height
大楷字母高度
caps height
字高
body size
提升／小楷字母升部
／上升笔画
ascender
窦
窦dòu
简体字jiǎntǐzì
繁体字fǎntǐzì
汉字的多样变体
受政治因素的影响， 汉字的写法因地而异。“窦”字在风格和样式上还
与篆书相近［见第页图］。这个字如今在日文和韩文中还在使用。在
我们的实例中该字在台湾［见第页图］和香港［见第 页图 ］的多
处变化清晰可见。最大的变化则是 年在中国大陆进行的文字改革，
也就是现在一直使用的简体字［见第页图］。在很多情况下，繁体和
简体字之间甚至没有相同之处。两种字的灰度值也有很大区别。第页
图使用相同的 编码（与字体相关），而图则有自己的编码
（与字相 关）。
英文版的可以将文字行以基线网格对齐。在中文版（同日文与
韩文版）中，可以将视觉中线做为基线，这为中文排版带来了方便。但
基线与视觉中线之间很难结合。
Hamburg
16
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
几何中线
Mathematic center line
视觉中线
Optical center line
字高
Body size 十字路口
字的空间
body clearance
字的空间
body clearance
沉降／小楷字母降部
／下降笔画
decender
字高／高度
x-height
大楷字母高度
caps height
字高
body size
提升／小楷字母升部
／上升笔画
ascender
窦
窦dòu
简体字jiǎntǐzì
繁体字fǎntǐzì
汉字的多样变体
受政治因素的影响， 汉字的写法因地而异。“窦”字在风格和样式上还
与篆书相近［见第页图］。这个字如今在日文和韩文中还在使用。在
我们的实例中该字在台湾［见第页图］和香港［见第 页图 ］的多
处变化清晰可见。最大的变化则是 年在中国大陆进行的文字改革，
也就是现在一直使用的简体字［见第页图］。在很多情况下，繁体和
简体字之间甚至没有相同之处。两种字的灰度值也有很大区别。第页
图使用相同的 编码（与字体相关），而图则有自己的编码
（与字相 关）。
英文版的可以将文字行以基线网格对齐。在中文版（同日文与
韩文版）中，可以将视觉中线做为基线，这为中文排版带来了方便。但
基线与视觉中线之间很难结合。
Hamburg
16
关
联
的
设
计
字
里
行
间
Gestaltung von Relationen I m Inneren der Zeichen
Figure 3. This example demonstrates general formal differences between individual Chinese and Latin characters.
Three degrees of mixing were distinguished, from each of which different typographical rules derive. In the first
degree, both language versions are presented one after the other within one medium. This can take place chapter
by chapter or on a double page. Important to note here are, for instance, the clashing of a text with justified
margins (Chinese) and one with a ragged right margin (Latin), and different line spacing and fonts. In the
second degree, the different language versions are consciously set in relationship to one another, for example, in
terms of sections, next to or one above the other, whereby they correspond more strongly, which, however,
requires more compensation. In the third degree of coexistence, the writing systems are closely interwoven;
here, the interaction between visual cultures is supposed to be readily experienced. This requires a highly
sensitive typographic approach on all levels.
Three alternative categories were developed by Keith Chi-Hang Tam. In the first, “parallel bilingualism,” two
languages are presented equivalently. In the second, “code mixing,” one language is imbedded within a sentence
in another language. This deals with words and sentence fragments in particular. In the third, “code switching,”
one language is embedded in another language, whereby, however, entire sentences alternate. “Code mixing”
and “code switching” are quite similar and chiefly differ in the amount of information that each presents.
In general, we can formulate a “rule of thumb” for multilingual design practice: when working with a large
diversity of form, there are many points of reference for “foreign graphic elements,” such as characters from
other writing systems. These can be more easily integrated. If, by contrast, the design is highly homogenous, the
foreign elements stand out from the overall image.
Applied Practical Applications: The research included two practical applications in the
communication field. The first, in collaboration with the partners Swissnex—Swissnex Shanghai is an
initiative of the Swiss State Secretariat for Education, Research, and Innovation (SERI) and the Swiss
Federal Department of Foreign Affairs (FEDA)—and the ETH Zurich, Switzerland, a design concept
for communication media (program, invitations, informational flyer, and posters) was developed for
the scientific conference “Future Cities, Sino-Swiss Science, Industry, and Government in Dialogue”
at Expo 2010 in Shanghai.
And in the context of the festival “Culturescapes,” in Basel, Switzerland, we initiated the project “Typo Bâle,”21
and we raised the following question to Chinese designers by issuing a “call for translation”: “Imagine you
wake up one morning and the European city in which you live appears transformed: all written information in
public spaces is not only in Latin script but also in Chinese characters. How does such a significant
transformation affect the perception of this city?“ Translation in this context is understood as visually relating to
a specific place and its existing lettering. Posters of the designed translations were exhibited at the Unternehmen
Mitte art space in Basel (Figure 4).
GJHB
GJHC
GJHD
GJHE
102
实
验
巴
塞
尔
文
字
Experimente Typo Bâle
QGJHB)BP[IFO2JGJHC5JOHUJOH
;IBOHGJHD3VJKB-JOGJHE+JOH-JV
-VYVO"DBEFNZPG'JOF"SUTJO%BMJBO
$IJOB
㳸䉮ਇB䉱䈀␘䉮ਇC䉱౽౽䉮ਇE䉱
ل㰣䉪͠ਆ㿡㗐⢹ᘦന㭧இ㗦ᛨܖ䉫䉮ਇD䉱
⢈⧃
GJHF
GJHC
GJHE
GJHD
GJHB
GJHE
10
实
验
巴
塞
尔
文
字
Experimente Typo Bâle
QGJHB:VIBO1FOHGJHC:JOH:F
GJHD9JO9JPOHGJHE8FOCJO-J-VYVO
"DBEFNZPG'JOF"SUTJO%BMJBO$IJOBGJHF
3PNBO8JMIFMN
㳸䉮ਇC ޡ㴕䉮ਇDḩ㷞䉮ਇE ဥ
ᾱᬵ䉮ਇ F ᘿᓵᓷ䉪͠ਆ㿡㗐⢹ᘦന㭧இ
㗦ᛨܖ䉫䉮ਇB ⢈⧃
ዝ႔͆㮗≶᩻ńń͆㊾Θ㩑䉮ͪ㊾Ѿ߃?
Über Mimikry und Fake – Wer verleibt sich hier wen ein?
GJHF
GJHC
GJHE
GJHD
GJHB
GJHE
10
实
验
巴
塞
尔
文
字
Experimente Typo Bâle
QGJHB:VIBO1FOHGJHC:JOH:F
GJHD9JO9JPOHGJHE8FOCJO-J-VYVO
"DBEFNZPG'JOF"SUTJO%BMJBO$IJOBGJHF
3PNBO8JMIFMN
㳸䉮ਇC ޡ㴕䉮ਇDḩ㷞䉮ਇE ဥ
ᾱᬵ䉮ਇ F ᘿᓵᓷ䉪͠ਆ㿡㗐⢹ᘦന㭧இ
㗦ᛨܖ䉫䉮ਇB ⢈⧃
ዝ႔͆㮗≶᩻ńń͆㊾Θ㩑䉮ͪ㊾Ѿ߃?
Über Mimikry und Fake – Wer verleibt sich hier wen ein?
GJHB
GJHC
GJHD
GJHE
102
实
验
巴
塞
尔
文
字
Experimente Typo Bâle
QGJHB)BP[IFO2JGJHC5JOHUJOH
;IBOHGJHD3VJKB-JOGJHE+JOH-JV
-VYVO"DBEFNZPG'JOF"SUTJO%BMJBO
$IJOB
㳸䉮ਇB䉱䈀␘䉮ਇC䉱౽౽䉮ਇE䉱
ل㰣䉪͠ਆ㿡㗐⢹ᘦന㭧இ㗦ᛨܖ䉫䉮ਇD䉱
⢈⧃
GJHB
GJHC
GJHD
GJHE
102
实
验
巴
塞
尔
文
字
Experimente Typo Bâle
QGJHB)BP[IFO2JGJHC5JOHUJOH
;IBOHGJHD3VJKB-JOGJHE+JOH-JV
-VYVO"DBEFNZPG'JOF"SUTJO%BMJBO
$IJOB
㳸䉮ਇB䉱䈀␘䉮ਇC䉱౽౽䉮ਇE䉱
ل㰣䉪͠ਆ㿡㗐⢹ᘦന㭧இ㗦ᛨܖ䉫䉮ਇD䉱
⢈⧃
GJHB
GJHC
GJHD
GJHE
102
实
验
巴
塞
尔
文
字
Experimente Typo Bâle
QGJHB)BP[IFO2JGJHC5JOHUJOH
;IBOHGJHD3VJKB-JOGJHE+JOH-JV
-VYVO"DBEFNZPG'JOF"SUTJO%BMJBO
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Figure 4. Examples of the results of the project “Typo Bâle”
Research Project 2: The Coexistence of Chinese and Western Visual Cultures
The experiences and results of the first research project, which dealt with multilingual typography and layouts,
have now been set in a larger context. We have initiated this second research project because the analyzed
differences between the two visual cultures are found not only in the visual appearance of their writing systems
21 The project “Typo Bâle” was developed in collaboration with Li Degeng, a Beijing-based designer, researcher, and author.
In addition to twelve renowned Chinese designers, two academic institutions participated in the project: the Luxun Academy
of Fine Arts in Dalian, China, led by Prof. Wang Xiaofeng, and the Central Academy of Fine Arts in Beijing with Prof. Lin
Cunzhen.
but also in the different visual understanding of their images, which are based on entirely different cultural
reference systems. What are these visual differences and how do they become visible?
Background
Traditional communication practices need to be questioned, not only in the field of typography but also with
regard to the use of graphics, photographs, diagrams as well as infographics. The established view that images
can be universally understood pertains at best to highly simplified graphic symbols, such as pictograms. In this
context the functional side of language dominates; it is primarily a means of communication.
For conveying knowledge, however, this linear form of communication, oriented toward clarity, is often
inadequate. Important here is to involve the beholder with the imagery in the process of exploring content and
thus to facilitate a deeper understanding. Such complex imagery serving to disseminate knowledge is always
linked to particular cultural concepts, which are not intuitively comprehensible in another culture and therefore
must be “visually translated.”
In commercial design practices, the communication of content from other cultures often leads to
disproportionate schematizations and stereotyping, simplification and generalization, in favor of dominant
Western concepts. A “coexistence” of different cultural reference systems is impeded as one representational
system is completely replaced by another, two different systems are not set into a relationship to one another,
hierarchies are applied arbitrarily, or the design method from one culture is applied exclusively.
The research project examined precisely these issues: it was important to develop a variety of methods that
allow for specific and equal solutions—not one general system.
We understand the new design approaches not in the sense of a universal principle but as a dynamic process
that, dependent on the corresponding context and in exchange with other cultures, continually seeks new
solution approaches.
Research on the cultural implications of imagery is most often approached from a theoretical perspective
pursuant to art-historical or visual-studies inquiry. Among the exceptions is the work of designer Henry Steiner,
who explores the different design methods of “cross-cultural design.”22 His visualizations incorporating
traditional Chinese symbols and pictures are—historically seen—exemplary.
Goals
The aim of the research was the development and representation of design methods that produce a relationship
of equality and mutual understanding between different visual cultures. Design processes were to be developed
that created access to the understanding of representations from the most diverse areas of knowledge. Both
cultures—the Chinese and the Western—were meant to benefit from it. The intention was to open doors rather
than to formulate definitions. Furthermore, a compilation of the essential differences was to be gleaned from the
juxtaposition of traditional and contemporary Chinese and Western representational principles.
Theoretical Foundation
22 Henry Steiner and Ken Haas, Cross-Cultural Design: Communicating in the Global Marketplace (London: Thames &
Hudson, 1995).
Nelson Goodman’s symbol theory, Languages of Art: An Approach to a Theory of Symbols (1968), provided a
suitable foundation for examining pictures in terms of their cultural references. With what Goodman sees as the
central act of “reference,” he stresses that the relationship between an image and the object it depicts is not a
natural one based on resemblance. Instead, the relationship is a construct, the result of a conscious creative act.
Even when the relationship appears natural, it is linked to cultural concepts—here Goodman speaks of a system
of representation or reference. This system is “the standard for a given culture or person at a given time.”23
Since pictorial representations are always linked to specific aspects of a cultural system of reference, they
cannot be understood as “universal” and require a “visual translation” when being transported into another
reference system. The dimensions of “visual translation” that we have developed in our research range from
visual and linguistic commentaries to visual “explanations.”
“Visual translation” is less about finding Western equivalents; since the Chinese and Western systems of
reference are so predominantly different from one another that they mostly have no direct correspondences, for
Western eyes, the differences remain invisible. Rather, it is about using redesign to make aspects of the
representations’ particular cultural system of reference visible in the newly drawn graphics (see Figure 5).
Figure 5. Left: One figure of the Chinese “cord-hook diagram”. Figure 5. (right): The clock—both are cyclical diagrams.
Aspects of the specific cultural system of reference were made visible in the newly drawn graphics, especially through the
small schemata above the illustrations (see also Figure 6 and 7).
23 Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols (London: Oxford, 1968), 37.
Research Process
Selection and Description of the Original Graphics: Central to the investigation were diagrams from the
illustrated encyclopedia 三才圖會 Sancai Tuhui,24 an outstanding compilation from the sixteenth century. Since
at that time isolated information from the West—via such early China missionaries as Matteo Ricci (1552–
1610)—was first being absorbed into Chinese general knowledge, we can assume that the encyclopedia’s
pictorial representations are to the greatest possible extent free from Western influences. Selected examples
from other sources have been chosen to complement and sharpen aspects of the visual research.
Around one hundred illustrations showing as many different representational principles as possible were
selected from the encyclopedia and systematically described, and their accompanying texts translated. For the
juxtaposition with traditional Chinese diagrams, different contemporary Chinese and Western diagrams offering
both thematic and formal points of reference for comparison were chosen. Because the aim was to show the
greatest possible variety of representational principles, the infographics were derived from a diversity of
sources.
Classification in the Respective Reference Systems: The illustrations were subsequently analyzed in terms of
their specific representational principles of knowledge transfer. Depicted were the hallmarks of the cultural
frame of reference of the Ming dynasty (1368–1644) and the contemporary Western-characterized frame of
reference. The representational principles were substantiated by means of 120 newly drawn examples. At this
point, one example should be mentioned: traditional Chinese diagrams of temporal processes are cyclical,
repetitive, and each closed in itself, whereas in contemporary Western diagrams time is mostly represented as a
line, namely as a timeline starting at a defined origin leading to an open end (see Figure 6). Cyclical diagrams
are uncommon in the West; the clock is one of the few exceptions (see Figure 5, left). The forms of linear
timelines appear based on a continuous linear and sometimes logarithmically structured line, with a defined
beginning and an open end. The year zero is irrelevant for the traditional Chinese understanding of history; nor
is another generally valid starting point established.
24 First, a facsimile edition was used: 圻王 Qi Wang & 思義王 Siyi Wang (1609), 三才圖會 Sancai Tuhui [Collected
Illustrations of the Three Realms] (Taibei: Chengwen, 1970). Later on, a digital version of the complete edition was used:
圻王 Qi Wang (1609); Huang Sheng 黃晟 [ed., 18th century], Huai yin cao tang 槐陰草堂 [1609 print plates, revision, and
reproduction Qianlong (1735–1795)], accessed September 9, 2015, http://ostasien.digitale-
sammlungen.de/cn/fs1/search/query.html?mode=simple&hl=true&fulltext=三才圖會.
Figure 6. This redesigned example illustrates the Big Bang and expansion of the universe. Time is depicted on a
logarithmically structured line with a defined beginning and an open end.
Figure 7. (right) Redesign of the “cord-hook diagram,” from the Xingde 形德 (Punishment and Virtue) manuscript,
discovered at the beginning of the 1970s at Mawangdui 馬王堆 (Changsha, Hunan; 168 BC). Figure 7. (left) Spiral-shaped
visual translation of the sexagenary cycle.
Redesign as Visual Translation: For the “visual translation” of the original Chinese graphics, the following
key question stood in the foreground: Does access to the illustrations tend to be possible, or is decisive cultural
“knowledge” lacking in order for them to be understood?
We want to demonstrate the approach of visual translation by a single figure of the 刑德圖 xíng-dé tú “cord-
hook diagram.” It is shown opposite to the clock (for the entire diagram with all sixty figures, see Figure 7,
right). This diagram presumably dates to the second century BC and depicts the sexagenary cycle (a calendar) as
described in detail by Marc Kalinowski in his essay “Time, Space and Orientation: Figurative Representations
of the Sexagenary Cycle in Ancient and Medieval China.”25 In our redesign we try to create access to the
understanding of the diagram by adding visual elements, such as the small schemata above the illustrations and
the explanatory text. We attempt to show the specific concept and cultural reference system. In Western
diagrams, “time” refers to specific, measured amounts of time. Time is understood as a continuous and
homogenous process, which can be recognized in the continuous grid of the clock emphasized in our design.
In traditional Chinese diagrams, on the contrary, time refers to the concept of “time,” closely linked to the
traditional system of correspondences. The system of correspondences embraces a synopsis of qualities of
nearly all areas of knowledge and life, and assigns the most diverse categories, such as cardinal directions,
colors, bodily organs, sensations, flavors, etc., to an established canon of equivalents. Time (the five seasons:
summer, autumn, winter, spring and mid-summer) and the “five phases of transformation” (fire, metal, water,
wood, and earth), are set in relation to space (the five cardinal points: south, west, north, east, and center).
We have visualized these symbolic, qualitative relationships in the different versions of the sexagenary cycle
diagram, especially with “real” colors: red represents south, summer, and fire; white (now light blue) represents
west, autumn, and metal; black represents north, winter, and water; green represents east, spring, and wood; and,
finally, yellow represents the center, the midsummer, and the element earth. We have also drawn the 刑德圖
xíng-dé tú “cord-hook diagram” as a spiral. A spiral calendar display is less clearly conditioned by the
beginning and end as the linear representation (see Figure 7, left), combining the idea of time as “unwinding a
line” with cyclical repetition.
Redesign as a form of “visual translation,” interpretation, and newly generated knowledge was the central
method developed in this research and is thereby its most significant result. Based on the original depictions,
120 new infographics were drawn that were augmented with aspects of the—not directly visible—system of
reference that were lacking for a contemporary understanding of the diagrams. Aspects of knowledge about the
conditions of image production and reception, such as cardinal points, reading direction, the construction and
function of the graphics, were integrated as well as emphasized in the new drawings. In this way we were able
to create access to the diagrams in the knowledge trove of 三才圖會 Sancai Tuhui, which was one of the main
goals of our research.
25 Marc Kalinowski, “Time, Space and Orientation: Figurative Representations of the Sexagenary Cycle in Ancient and
Medieval China,” in Graphics and Text in the Production of Technical Knowledge in China, ed. Francesca Bray and Vera
Dorofeeva-Lichtmann (Leiden: Koninklijke Brill, 2007), 137–68. In this context we also found the original of the diagram
we have than redesigned.
Deriving Suggestions for the Design of Infographics: Drawing on the entire investigation, we derived basic
suggestions for the design of infographics in an intercultural realm; our focus here was on specific intercultural
issues. An ethical dimension appears in many design and content-related questions of detail. For instance, in
new drawings of persons and especially faces there is a significant risk of stereotyping; here we recommend that
designers follow closely the old traditional representations.
Yet an ethical dimension of the research also appears in a general question: In which way can information from
different cultural contexts be represented with their respective specific imaging systems, such that these systems
coexist on an equal footing? The decisive point is not to assume that the reference system of the “self” is known.
Beholders might think they know it because it is so familiar to them. Sometimes, however, upon considering the
reference system more closely, they become aware that they cannot further qualify their “own” reference
system. “Pure,” “unmixed,” and defined cultural systems do not exist; it is only through the juxtaposition of
traditional Chinese and Western frames of reference that systems of the “other” and the “self” are constructed.
Discussion
The research of design methods in the field of intercultural visual communication offers us valuable
methodological and practical knowledge in design. Through the collaboration with Chinese project partners we
have achieved a high degree of sensitivity on the issue of culturally determined patterns of perception and, at the
same time, appropriate methods for dealing with cultural difference. As a result of this research experience, we
are now able to research further on developing visual identities for public institutions that implement cultural
and social diversity policies.
Our society has become increasingly diverse and therefore also more complex. The causes for this lie in the
increasing diversity related to migration, and in the increasing recognition of former “marginal groups,” such as
the elderly, people with disabilities, and ethnic minorities.26 One consequence of this development is the
massive change in communication requirements. This applies especially to public institutions that implement
social diversity policies, that is, that interact with target audiences distinguished by an increasing linguistic,
ethnic, and social diversity.
The aim of this planned research is to develop and implement new design methods for the “visual identities”
(corporate design) of public institutions. The approach is to develop, by way of applied examples, the visual
identity of a public hospital (Lausanne University Hospital / Centre hospitalier universitaire vaudois, CHUV) in
Lausanne, and a foundation for disabled people (Stiftung Balm) in Rapperswil, Switzerland. Switzerland has a
tradition of coexistence with its four distinct national languages: German, French, Italian, and Romansh. Today,
however, migration and globalization demand a much wider concept of multilingualism for the communication
of a public hospital, as for any public institution. The CHUV, for example, communicates with an audience that
is characterized by great linguistic, ethnic, and social diversity. The hospital aims to simultaneously address
different target audiences in a very specific manner: their patients, employees, and potential employees (the
hiring of physicians, researchers and lecturers in the field of medicine).
26 Nieswand, “Diversity and Society,” n.p.
In order to respond to these communication requirements, the new design method aims to strongly counterpoint
constant, identity-endowing visual components with dynamically variable and differentiating visual
appearances. The planned task is to develop such constant and variable components for the new signet, the
corporate typeface, the new color spectrum, and the new visual imagery of the CHUV. The new identities
should have the potential to support democratic processes. Since they represent the institutions not only on a
symbolic level, they also constitutively collaborate on the design through the use of realistic means—such as
multilingualism and differentiating visual imagery— and they should facilitate social integration. They reflect
the interests of the parties involved and address their cultural, linguistic, and social diversity. As such they
contribute to making communication comprehensible internally, such as for employees, and externally, such as
for patients. Issues of self-conception will not be dominated by projections of desires (target image).
The two-part result, which on the one hand will make the application examples publicly visible, and on the other
is meant to supply methods for the development of diversity-compliant corporate design, aims at contributing
fundamentally to improving the quality of visual identities of public institutions. Through a publicly effective
identity, the influence of communication design on processes of perception with regard to “identity,” “culture,”
and “society” are to be rendered visible. According to the United Nations “Convention on the Protection and
Promotion of the Diversity of Cultural Expressions,” “cultural diversity, flourishing within a framework of
democracy, tolerance, social justice and mutual respect between peoples and cultures, is indispensable for peace
and security at the local, national and international levels.”27
State of the Art
Corporate Design: Here comprehensive investigations were conducted thematizing the institutional
requirements for corporate identity (CI) concepts.28 Seldom are the approaches to the CI concept, that is, the
analogy between natural and institutional “persons,” critically questioned. The most important authors taking a
critical approach to the subject are Elio Pellin,29 Christian Jaquet,30 and Ulrike Damm.31 To date, however,
scarcely any design methods, such as in the area of diversity, have been derived from their investigations that go
as far as intended by our project.
Currently, we do not have suitable forms of corporate design for public institutions that integrate society’s
growing cultural and social diversity. Despite the fundamental reformation of the organizational structure of
public institutions, known as “New Public Management,” in the 1980s and 1990s, conventional methods of
corporate identity are most often adopted in an uncritical manner. These methods are particularly problematic
for public institutions because they build on uniformity, that is, on a uniform essential core, and often conduct
communication using stereotypical perceptions of the self and the other.
27 UNESCO, “Convention on the Protection and Promotion of the Diversity of Cultural Expressions,” Paris, 2005. Accessed
July 10, 2015, http://unesdoc.unesco.org/images/0014/001429/142919e.pdf.
28 Klaus Birkigt, ed.. Corporate Identity: Grundlagen Funktionen Fallbeispiele (Lech: Landsberg, 1980); Norbert Daldrop,
ed., Kompendium Corporate Identity und Corporate Design (Stuttgart: avedition, 1997); André Vladimir Heiz, Grundlagen
der Gestaltung, vol. 4: Identitäten und Differenzen (Sulgen: Niggli, 2012).
29 Elio Pellin, ed., Weiss auf Rot: Das Schweizer Kreuz zwischen nationaler Identität und Corporate Identity (Zurich: Verlag
Neue Zürcher Zeitung, 2004).
30 Christian Jaquet, Corporate Identity für Verwaltungen und Gemeinden (Bern: Verlag Haupt, 2005).
31 Ulrike Damm, “Über Ursachen und Konsequenzen der mangelnden Differenzierung in der visuellen
Unternehmenskommunikation,” PAGE (Ulm), no. 10 (2006), 49.
In recent years corporate design has developed from an isolated specialized field into a multidisciplinary method
of visual communication in the public sector (environmental graphic design). Noteworthy examples are image
campaigns, infographics (corporate information design), and orientation systems (signage). Oftentimes
designers are only brought onboard late in the process, to repair “communicative deficiencies.” They are faced
with the fact that it is precisely public institutions that need sensitivity toward and an awareness of the issue of
the increasing diversity of the groups interacting here.
Problem-Oriented Design: Communication design, seen as an integrated process that also includes
sociocultural, ethical, and political dimensions, first began to gradually prevail in the 1970s. Our project aims at
assuming an exemplary role here. Communication design that is oriented toward general social problems, such
as the changed communication requirements of public institutions, can no longer be oriented exclusively toward
the design of isolated communication media. Social issues demand more long-term thinking and researching.
Design and Democracy: Research conducted for the democratic development of public space is carried out
above all from the perspective of urban development, architecture, the social sciences, and social planning. Up
to the present, the issue of the democratization potential via communication design rests largely on the
approaches to a democratic attitude in design that was developed between 1953 and 1968, in particular at the
Ulm School of Design in Germany. To date, searching for comprehensive revisions on this complex of topics
has been in vain. A discourse on design and democracy certainly exists, but the integration of current aspects
regarding demographic change, which are also implemented on a practical level, has yet to be achieved.
Important conceptual approaches are offered here by various essays, for instance, by Guy Bonsiepe32 and by the
design and research studio Metahaven, which, in collaboration with Daniel van der Velden, has published its
observations.33
Background
Since the 1970s, corporate identity is one of the dominant concepts for managing businesses and optimizing
their external and internal perception. Originally, the concept of “personal identity” formulated by the
psychoanalyst Erik H. Erikson34 was used and applied to companies in a highly simplified fashion.35 A CI is
based “on a company’s long-term objective and on a defined (target) image”; it has the goal of “bringing all the
company’s tools of action into a unified framework for external and internal representation.”36 In the CI, “the
‘nature’ of a business is revealed through the design. Therefore it can be successful only if this ‘nature’ is
indeed coherent and effective in itself.”37
This is where criticism arises: a person’s identity evolves in a rather long-term, complex process of
development; it does not represent a fixed “target image” that individuals set for themselves and then realize.
32 Gui Bonsiepe, “Demokratie und Gestaltung,” lecture on the occasion of the awarding of the doctoral degree Doctor
honoris causa from the Universidad Tecnológica Metropolitana, Santiago de Chile, June 2005, accessed August 26, 2015,
http://www.guibonsiepe.com/pdffiles/Demokratie_und_Gestaltung.pdf.
33 Metahaven, “Brand States: Postmodern Power, Democratic Pluralism, and Design,” in Uncorporate Identity (Baden: Lars
Müller Publishers, 2009); Metahaven, “Peripheral Forces: On the Relevance of Marginality in Networks,” in Deep Search:
The Politics of Search Engines, ed. Felix Stalder and Konrad Becker (Piscataway, NJ: Transaction Publishers, 2009), 185–
197.
34 Erik Homburger Erikson, Childhood and Society (London: Imago, 1950).
35 Klaus Birkigt, Corporate Identity: Grundlagen Funktionen Fallbeispiele (Lech: Landsberg, 1980).
36 Ibid., 1.
37 Pellin, Weiss auf Rot, 34.
This is why the “ideological anchoring”38 of Klaus Birkigt’s CI concept is so strongly emphasized. The CI
concept is predestined to be exploited for purposes of manipulation, because “normative codes” are enforced
“with the aid of stereotypical perceptions of the self and the other.”39 The CI concept is not only used for
commercial businesses; it is also increasingly applied to federal public corporations. Today, public institutions
are understood as public services and operate according to the rules of “New Public Management.”40
If criticism is already directed at the highly simplified application of the notion of a “personal identity”41 to
companies, it inevitably becomes more vehement when this notion is transferred onto public institutions. As
Schneider argues:
When a government is understood as a corporate performance, it needs to formulate
a solid core in accordance with corporate identity, and this core then needs to serve
as a value reference to guide all conduct and statements. According to Pellin and
Ryter, this “will not be possible in democratic systems.” It would presuppose an
authoritarian, extremely hieratic federal organization, like those of totalitarian
states.42
As Mastronardi and Schedler assert, governments are not dealing with “customers to whom they simply need to
present themselves as efficient service providers; the administration is dealing with citizens who are
fundamentally involved in the process of shaping collective identity.”43
This also applies to the form of internal and external communication of public institutions and services, such as
hospitals. Today, public hospitals communicate with a public that is characterized by a significant linguistic,
ethnic, and social diversity. Public hospitals also exemplify the increasing complexity of many businesses that
are affected by mergers, in part due to cost-saving measures, but also in part to boost their corporate dimension
and become more competitive. Many such businesses are organized in several semi-independent subsidiary
institutions that are often scattered over a large territory. These institutions want to be perceived as autonomous
specialty branches and at the same time in terms of their affiliation with the main institution.
This multiple perspectivity is an enormous challenge for communication, particularly in the area of spatial
orientation (signage)—that is, where corporate design is most visible in public institutions. In this context,
design methods that are typically used in corporate design, such as extreme simplification and uniformity, are
inappropriate.
Many foundations engaged in supporting the rights of handicapped persons are in need of fundamentally
revising their identity. This need exemplifies the shift in society’s perception of “minorities” (antidiscrimination
discourse). When it has now become increasingly “difficult to push through rules and standards of behavior with
reference to the culturally founded notions of normality of a majority society,”44 but corporate identity just as
38 Ibid.
39 Ibid.
40 See Beat Schneider, Design—Eine Einführung (Basel: Birkhäuser—Verlag für Architektur, 2005), 217.
41 Erikson, Childhood and Society.
42 Schneider, Design—Eine Einführung, 217.
43 Philippe Mastronardi and Kuno Schedler, New Public Management in Staat und Recht: Ein Diskurs (Bern: Haupt, 1998),
94.
44 Nieswand, “Diversity and Society,” n.p.
often operates with “stereotypical perceptions of the self and of the other,”45 a reformulation of design methods
is of fundamental importance.
Concluding Thoughts
Communication designers are increasingly confronted with the task of implementing multilingual and
intercultural documents, visual identities, and signage, since the target audiences being addressed reflect an
increasing cultural and social diversity. Our research aims at providing conceptual input and suggestions for this
purpose.
With Research Project 1, practical design knowledge and methods for handling multilingual typography,
specifically with respect to typographical arrangement, layout, and conception, were developed. General
typographical rules of “coexistence” were adhered to in text form and demonstrated by model sentences and
texts as well as by means of exemplary designs by Chinese designers. The research was published in a special
issue of the Swiss Typografische Monatsblätter.
The most important results of Research Project 2 demonstrate a more intense knowledge and awareness about
why Chinese and Western diagrams are so different. The research describes, in steps of recognition, how the
reference system defines the specific quality of each culture. The description of these reference systems and
how they functionally relate to these specific qualities encompass the openness and variability of symbolic
space in Chinese graphics.
Thus Chinese graphics can be understood as visualizations of qualitative correlations between elementary,
opposing forces, between heaven and earth, light and darkness. As we have mentioned in the description of the
刑德圖 xíng-dé tú “cord-hook diagram,” time (the five seasons) is linked to the cardinal points and therefore
also bears the manifold meanings and associations of the traditional system of correspondences.
In contrast, current Western infographics have a defined grid of definitions that relates to distinct empirical data
obtained on the basis of objective measurements. Among the constitutive conditions of contemporary Western
representation are the continuity and homogeneity of diagrams. This is particularly evident in the time display:
the clock, the calendar, and historical timelines. Time is understood as a continuous and homogenous process,
which can be recognized within the continuous temporal grid of the clock.
Traditional Chinese graphics, by contrast, tend to develop self-contained “cycles.” Time is understood in
cyclical continua as times of day, seasons, world times. Dynasties can be understood in this way, as a sequence
of cycles, each with its own beginning and end, and whose development takes place to a certain extent
cyclically.
The goal of Research Project 2 was to develop an equitable relationship and at the same time create access to
the understanding of visual representations from two different cultures. By developing various methods of
visual translation, we reached this goal. In the previously shown example of 刑德圖 xíng-dé tú “cord-hook
diagram” and the clock, “translating visually” means making the original graphics’ cultural concepts visible in
new drawings. The different methods of visual translation are explained through 120 graphics in a forthcoming
volume by Lars Müller Publishers.46
45 Pellin, Weiss auf Rot, 34.
46 Baur, R. & Felsing, U. (2017) «Coexistence of Symbols». Baden: Lars Müller. (in press)
The research presented here are examples of research through design in the area of “social design” or “Visual
Application Respectful of Cultural Diversity.” In all three projects, a characteristic feature of so-called wicked
problems has been revealed: each “wicked problem” is to some extent unique: found solution strategies cannot
simply be transferred onto new questions. Concrete design tasks must always be developed anew in dialogue
with other cultures and people. The design methods in the research project have been developed as an open
system of sets that can be modulated and combined, so they can provide a basis for a specific and unique
application solution with respect to specific questions regarding place and content. We want to encourage future
users to acquire for themselves the necessary knowledge as far as possible for specific investigations, so that
they can make decisions and assume responsibility on their own. In this sense, “social design” is less about
focusing on “brilliant ideas” or “aesthetic perfection.” Rather, its central concern is to generate the greatest
possible scope for action for every concerned individual person.
Acknowledgments
This research was funded by the Swiss National Science Foundation: May 2010 – April 2012 (Research Project
1) and October 2012 – September 2015 (Research Project 2). The workshop series at Chinese art schools was
funded by the Swiss Arts Council Pro Helvetia in connection with the cultural program “China 2008–2010.”
We would like to thank our colleagues, whose insight and expertise greatly assisted the research: Mélissa
d'Amore, Sébastien Fasel, Wu Jie, Fabienne Kilchör, Eva Lüdi Kong, Jeannine Moser, Nathalie Bao-Götsch,
and Roman Wilhelm.
We are also immensely grateful to Clemens Bellut, Andres Bosshard, Christof Hofstetter, Vera Baur Kockot,
Tabea Lurk, Axel Steinberger, Jana Strozinsky, Anne-Catherine Sutermeister, Irmi Wachendorf, and Marc
Winter for their comments on an earlier version of the manuscript. We are also indebted to Julius Hui of Taipei,
who developed the typographical example (Figure 2).
Our special thanks go to the Ostasiensammlung der Bayrischen Staatsbibliothek for making the illustrations
from 三才圖會 Sancai Tuhui available to us.
We ensure that all the authors have provided us permission to reproduce any images, etc. included in the present
article, and for those of which they do not own the copyright, all permissions have been obtained for a possible
publication of the given article.
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