ABOUT
Bio and Approach,
Sectors, Experience, and Skills,
Curriculum Vitae

A Continuously Forming Synthesis of Skills and Experience

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The word ‘design’ is predominantly associated with something that can be perceived visually. However, a design can go beyond visual presence. The Oxford Dictionary defines design as to “do or plan (something) with a specific purpose in mind”. Based on this notion, ‘design’ can therefore also be a sophisticated structure, an elaborate system, or simply a well-rounded written communication concept. This term basically functions as a collective name for a subject independent from visual or non-visual attributes provided that all of its components are plausibly and ingeniously combined and lead to a solution executed in its most expedient option.

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Gutwirth’s field of activity covers both visual and non-visual design work. Her communication design portfolio consists of prestige projects for global leading corporations, including corporate design and branding, employer branding, event and jubilee communication, and design and marketing consulting. She can also prove profound knowledge in brand conception for B2B and B2C niche brands and special industries.

Gutwirth’s concepts strongly benefit from her intercultural skills and abilities for lateral and parallel thinking, analogy building, and change of perspective, which she has significantly refined in her additional qualification abroad, involving visual arts education, academic work, and art exhibition experience. Gutwirth extends and maintains her design competence constantly—not only in connection with ongoing projects but also by challenging herself in self-chosen topics.

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The Reciprocal Relationship between Art, Science, and Design

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Artistic thinking’s exceptional ability to generate innovative ideas across the spectrum of human knowledge has always influenced societal development. Since the movements of Modern Art when artists intentionally broke the rules of academism to explore new topics and techniques, creating their pieces more intuitively and individually, the field of art serves as a platform for playful experimentation and investigation free of limitations. Consequently, the process of creating art can be seen as an intrinsically motivated research methodology. Hence, even though art mainly arises without the need for pragmatism, it often provides approaches that contain beneficial insights for wider audiences.

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Artistic viewpoints can prevent one-way-thinking and initiate unexpected, out of the box solutions. In light of this, idea generation in art also makes a great impact on the field of design. If an artistic project shows high potential of representing a prototype for practical utilization and its feasibility and replicability can successfully be validated by reliable (scientific) verification methods, art is capable of turning into design.

To quote designer Robin Mathew: “Design is where science and art break even.”