Loraine Furter initially had little connection with Swiss graphic design and instead pursued her interests in Belgium. After moving to Brussels to study, she discovered she was drawn not just to administrative or children’s book work, but to the broader field of graphic design—recognizing that design permeates every aspect of society, whether visibly or behind the scenes.
Her international experiences have profoundly shaped her practice and led her to become actively involved in feminist movements. As her reputation grew, she began receiving invitations from different associations and organizations. This work, though personally meaningful, requires careful balance—juggling her own creative goals with the demands and politics of collective advocacy.
Collaboration is central to Loraine’s philosophy. Sometimes she works solo; other times, she partners with diverse teams, appreciating how joint efforts spark discovery and expand networks. She encouraged students to follow their passions, believing that doing so naturally attracts like-minded people and opens new opportunities.
Despite occasionally considering leaving research due to its complexity and lack of clear job prospects, she ultimately found it to be tremendously valuable. She stressed the importance of reconciling personal desires with practical realities, whether working within institutions or forging a more independent path. Her own perspective on design evolved as she recognized how bodily rhythms and lived experiences shaped the ways in which she understood and practiced her craft.
Design isn’t just about making better objects but about transforming the social and institutional systems in which those objects exist. Instead of treating a can opener or a hospital corridor as isolated problems to be fixed, this perspective encourages us to see how each design choice interacts with larger networks—like transport systems, hospital policies, or workplace structures. Ignoring these wider contexts can create “counter-productive” outcomes where one solution generates more problems. It’s a compelling reminder that good design must look beyond form and function to engage with the very institutions that shape our everyday lives.
Take a walk to the not so much walked areas. Take photos. Take one pic that is representative of that walk.
Taking a walk through this graffiti-filled street in Munich was like stepping into a living canvas — chaotic, raw, and deeply expressive. I don’t usually explore places like this, but being surrounded by layers of color, protest messages, characters, and tags made me reflect on how public space becomes a voice for the unheard. The images I chose, with its mix of political statements, satire, and vibrant visuals, stood out to me as a symbol of resistance and creativity. It made me realize how street art isn't just decoration, but also dialogue. This walk challenged how I view art, pushing me to see beauty in messiness, and intention in rebellion.
Project title (working): “Unsichtbar / Unersetzlich” – spotlighting essential workers whose labor goes unseen. These workers remain largely unseen (unsichtbar), yet the system could not function without them (unersetzlich).
Core question: “How can we make everyday support work impossible to overlook?”
Desired outcome: a multi‑format exhibit like zine that pairs visual impact with first‑person stories.
Roles chosen: mensa workers, baristas, bus drivers
| Interview Prompt | Core Answer / Memorable Quote |
|---|---|
| Walk me through your morning before students arrive. | Give a quick clean up of the mensa at 7. Then ready the ingredients and turn the stoves on. |
| What’s the most invisible task nobody notices? | Double-checking quantities. Rushing to re-fill so that no one is delayed in the queue. |
| Hardest moment of the shift? | The 12PM lunch rush: trying to make sure payments are being made, giving good quantities to everyone, restocking if needed. |
| What are you proud of? | Zero food waste for the past two weeks. |
| One wish for the students? | Please return the Relovo take away boxes! |
