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CTS B | Compulsory Question 2

My artistic vision is to be a Dynamic Disruptor basically, I want to use crazy, vibrant colours, loud typography, and compositions that just shouldn't work, but totally do. The goal isn't just to look cool, it’s to make design a vehicle for social engagement. I want to take serious messages or complex ideas and translate them into a language that’s joyful, accessible, and honestly, impossible to scroll past. This vision aligns perfectly with the CTS B themes of Creative Practice & Critical Thinking and Connecting Practice with Society. I’m choosing impact over blending in, and defining this philosophical path for my work is key to figuring out my professional future (Flusser, 1999).

The design work that hit me the hardest and completely reflects this vision is the huge poster collection created by Studio Feixen for the Südpol Cultural Center in Lucerne. I picked this because it proves that a design practice can constantly evolve while staying deeply involved in its local community. Plus, it gives me a lineage! My own work is already known for being funky, goofy, and bright in colour, so seeing how Feixen made that style work at an elite level is huge validation.

Studio Feixen's posters are an awesome example of Creative Practice & Critical Thinking. Since they had to design a totally new visual identity for almost every Südpol event, they were forced to toss out strict systems and reinvent their aesthetic rules constantly. This idea of endless, joyful experimentation where you’re creating art that feels totally alive is the exact type of critical, living design practice I want.

Crucially, the posters are successful at Connecting Practice with Society. They're not just decorations, they’re social tools. They use those funky colors and expressive, sometimes messy, typefaces to inject urgency and excitement right onto the street. By making culture visually unmissable, the design actively encourages people to participate, proving that good design can genuinely boost community engagement and local awareness.

Their work is also a perfect way to Analyse Traditions and Lineages. Studio Feixen comes from the incredibly rigid world of classic Swiss design, but they chose to totally shake it up. By embracing colour, play, and expression, they show us how you can respect a tradition but critically evolve it (Pfäffli, 2013). It’s not about being messy for the sake of it, it's a thoughtful rejection of cold visual rules to achieve a stronger, warmer, more emotional impact.

My aspiration is simple: I want my portfolio to have that same level of dynamic energy and thoughtful rebellion. Studio Feixen shows that a commitment to a loud, colourful, and unconventional aesthetic doesn’t ruin communication it makes it better. This is my moment of Critical Self-Reflectivity: realizing my goofy style isn't a weakness, but a design choice that aligns with a powerful lineage of disruption. The Südpol posters demonstrate that if you design with intention and fun, you can be impactful, drive awareness, and redefine your own professional boundaries.

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Flusser, V. (1999). The Shape of Things: A Philosophy of Design. Reaktion Books.