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A Field of Persuasive Gestures, Swiss and Foreign Affairs

Proposal by Mathias Kruse

Thesis for Master of Arts in Architecture RIBA Part II Aarhus School of Architecture AAA

Supervised by Carolina Dayer



A Field of Persuasive Gestures, Swiss and Foreign Affairs


Fig. 01




About Field noun;

An area of activity or interest: Field being Switzerland, this thesis derives from a personal interest in archives, preservation and institutional buildings.

Persuasive adjective;

Able, fitted, or intended to persuade: Swiss culture and history is seen as persuasive in their ability to keep renommĂŠ as a trustworthy business companion.

Gestures noun;

Courtesey, communication as a formality, thought: Potential for a financial refugee through tax-systems and neutrality.

Affairs noun;

Anything done or to be done; anything requiring action or effort; Long history of past crossborder and international agreements.

01. El Lissitzky, Untitled from Proun, 1919–23 Museum of Modern Art.


Arrival plot “Passively looking out the window from the passengers carriage as the train begins to ease, the view alters between forest and facilities of maintenance, storage and production.

When approaching Basel a monolith figure is resting among the trainlines, strongly signalling confidence as it is approached.

The train momentarily pauses and offers you a closer view of the building and its atmosphere. Cladded in warm sandstone in a dense manner, you sense the institutional and authoric character. The train holds at Basel SBB and transfers to the Tram infrastructure. You continue to the terminal platform and recognize the materiality and the same monolith building. A clock tics its hands and a door opens, while the one behind you closes off.�



Confidentiality and Pleasure This thesis derives from a personal interest in the relationship between archives, preservation and institutional buildings, as well as its ethical and pragmatic potentials for contemporary culture and architecture. Particularly, the thesis proposes an addition to Port Francs, a confidential building in Geneva, Switzerland, that stores art and other valuables of an estimated value of â‚Ź100 billion euros. The addition will be situated in Basel, a city with a strong art scene. It is not a secret that Switzerland is a host to many confidential buildings. Switzerlands known political neutrality has long offered a field of persuasive gestures that denote stability and security to the many wealthy speculators willing to store values in Swiss lands. Amongst these confidential facilities, there are archives with valuable artefacts inaccessible to the public. Within these buildings, art, culture and history are privately owned and preserved, while their value increase parallel to stocks and market fluctuations. Essentially the objects, here representing a cultural value, behave as a financial asset as well. The proposal revisits the archive as a cultural institution proposing a new archive typology that critiques the current state of confidentiality and speculation, and discloses the act of concealing. The building proposal will address both programs; the confidential archiving of values and the public experience of such secrets. Furthermore, the proposal strives for a productive meeting of the conflicts that may occur when ethics, economy and culture overlay. I believe it is appropriate to re-instate these buildings as public institutions, thus giving something in return for their privileged behavior. As an architect it is important to engage with these issues. Furthermore, I believe the values, documents, cultural objects, and the people working with them, deserve a better architecture.


Fig. 02

Fig. 04


Fig. 03

02. Basel SBB, 1956. ETH Archive. Luftbild Schweiz. Photography by Werner Friedli. 03. Lago Maggiore. 04. Bahnhof Uster, 1967.


05. Statistics of On/Off display within the holdings of 20 museums in 7 different countries. Studies done by journalists at Quartz in January 2016.

Artist Fig. 05

Claude Monet Pablo Picasso Paul Cezanne Mary Cassat Georgia O´Keeffe Alexander Calder Wassily Kandinsky Thomas Hart Benton Jeff Koons Frida Kahlo Egon Schiele




On display

In archive

155 139 93 34 36 27 15 10 4 2 0

63 108 15 15 67 88 20 11 17 2 53


Fig. 06

06. Sheffield Western Bank Library. 1959. Architectural Press Archive RIBA Collections.







Ports Francs


















Design Strategy






Josef MĂźller Brockmann









Fig. 07

07. Felt sculptures 1964. Joseph Beuys.



We’re new here A rigid and confident financial situation is of great importance to a nation and its residents. Widely considered to be among the most stable of currencies, the Swiss Franc 1 (CHF) is renowned for its reliability and often referred to as a financial refuge. Despite the disclosure of some privacy regulations around tax evasion, buildings such as the Geneva Freeport (Ports Francs) have been built, facilitating import and export through a new scheme of law outside of the territorial jurisdiction. The storage building, also to be considered an archive, is located near Praille train terminal providing a route directly from neighbouring nations to the building itself. The building is without law on tax, duty and toll as it is based on the principles of a freeport. Upon depositing at the Ports Francs, no taxation or duties are to be paid, its only when the goods are leaving the storage they get tolled and taxated. This provides an opportunity to speculate in market values and demands, thus postponing the “selling” of goods until a profit is guaranteed. Valuables are stored until their demand has increased, at which point they’re sold off at a higher market price.

The facility protects clients’ information from third parties, this practice is comparable to how doctors and lawyers are regulated. The building reveals itself, being a tall mass with rather large letter branding, but doesnt provide any information of its current contents. The perceiver doesnt know what is contained, but is purely aware of its existence. Essentially the building becomes a cemetery of things, relics of lost transit.


The following spreads provide an overview of the building and site development of Ports Francs at La Praille in Geneva Switzerland. Its vast history is remarkable in its connection and influence on local and foreign infrastructure. This development is significant as a further understanding of the project, and stands as precedence for the chosen site.

Furthermore the usage, change and transformation of the buildings history also directly relate to this thesis. Ports Francs has alternated its purpose from common and ordinary goods to valuables and objects of a cultural significance. This transformation has been undergoing for a century and continues to change, adapt, expand and engage over time.


A master plan for major communications in the Canton of Geneva is published. It aims to cope with the economic development of the Canton of Geneva, by enlarging transportation networks. The plan offers a revolutionary transport and communication strategy, and creates a rail link to Cornavin station in the citycenter from the newly developed Praille station for cargo and storage operations.


The Free Ports are built in Praille, storing produce such as grain and other common goods in order to not be double-taxated when transporting longer distances.


The Praille station is operational. 100.000 sqm are available. The buildings around it store goods of manufactures, imported vespas and cars.


Part of the old car storage space in Geneva is transformed into secure premises. Storage changes from practical to valuable.


Ports Francs



Inauguration of the Airport Freight Hall. The premises are soon all rented out, and the spaces at Praille are taken into use to compliment the need for more space.


The wine tanks are replaced by premises suitable for keeping Grands Crus in bottles.


Establishment of a logistics service to develop and diversify the offer to customers. New IT equipment, adapted to needs, is acquired.


The Free Ports offer space for more than 600,000 bottles of Grands Crus. The silo and its facilities are transferred to the Cercle des Agriculteurs de Genève et environs (CAG), which now manages it.

2000 - 2001

2007 - 2009

The construction of the new administrative building, known as “Mipsa-Sud”, has started. This five-story basement building was designed with respect of the environment and meets the Minergie label. It was inaugurated on September 28, 2009.


The Free Ports are intensifying their presence at several cultural events, in Switzerland and abroad.

2014 - 2020

Speculation in the value of artworks begins to rise and the premises transforms to highly secure and temperature controlled rooms with conditions ideal for preservation. Amongst the goods are paintings, sculptures, valuable wines, relics and stones. They demand more and more space, thus the building keeps expanding.


Fig. 08




2. 1.

Nearer 1.

The premises of Rive and Longemalle, from 1849 to 1950.


The Cornavin warehouses, from 1890 to 1964.


The Renfile premises in Vernier, from 1926 to 1964.


The Praille site, from 1964. The headquarters are there today.


The Geneva Airport, from 1988, located in the Freight Hall.


Grain Silo.


Main warehouses of Ports Francs.


La Praille station.





Fig. 09

08. Lake Geneve. Photography by Patrick de GoumoĂŤns. 09. La Praille station 1966. ETH Archive.




10. Image from Field of Vision, National Disintegrations by Braden King. 2017.




11. Image from Field of Vision, National Disintegrations by Braden King. 2017.


12. Image from Field of Vision, National Disintegrations by Braden King. 2017.




13. Image from Field of Vision, National Disintegrations by Braden King. 2017.



14. Image from Field of Vision, National Disintegrations by Braden King. 2017.


15. Image from Field of Vision, National Disintegrations by Braden King. 2017.




Fig. 16



16. La Praille Station. 1966. Photography by Friedli Werner.




Buildings of Port Francs Located at La Praille in the midst of industrial shipping platforms, the storage buildings of Ports Francs are currently very unavailable for everyone. Their secrecy and hiddenness provide nothing for the public and serves only the purpose of the contents owners. This is one of the issues i want to address in this thesis proposal. Therefore, the chosen site in Basel behaves differently in its approach and connection to public infrastructure, openness and program.



Praille is build. 100.000 sqm.



Mipsa Sud is build. +20.000 sqm.



Mipsa Nord is build. +20.000 sqm.

Sharing many of the infrastructural qualities of Geneva, Basel is considered to be the Swiss capital of art and culture, and thus it is an ideal scene to locate an art archive. Basel is in close proximity to foreign countries (Germany, France) and is tightly connected by railways. In addition to archive spaces, the building proposal will also host a public museum and auditorium for auctioning. D (Basel)


Building proposal. +15.000 sqm.




References of size The new archive and museum in Basel is composed of a storage building, a public exhibition and a railway platform for cargo and passengers.

The building will host several programs and thus its spatial organization is an important part of the proposal strategy. On the opposing page is a scheme, listing the spaces and their squaremeters, structured in categories in order to assist the further building design. Through comparing the size of local museums in Basel, as well as an estimate of the squaremeters of Port Francs (Geneva Freeport). These existing archives are difficult to get information about, since their purpose is to hide or safekeep. It is comparable to obtaining the plan of a national bank. The original building from the 1960’s covered around 100.000 sqm, but have since been extended additionaly in 2009 and 2014, bringing the estimated total area to 140.000 sqm.

Kunstmuseum Basel, is the largest and oldest museum in Switzerland. The building is divided in two parts, the Kunstmuseum (1931) and the Neubau (2016). The main building is 7.250 sqm. and the addition brings the total to nearly 10.000 sqm. The addition proposes larger exhibition spaces, a bookshop, passage to the main building and acts as a new entrance to the museum.

This thesis proposal considers these measures in order to define its needs. This building is to be seen as an addition/satellite of the existing freeport in Geneva, with the alternating public branch of program. Its size is estimated to host the future collections of speculative investors, the cataloque of museums, and the temporary keeping of objects in transit. It is also a building for viewing and perceiving and thus it is sized with the spatial elements of a museum as well.



Spatial Estimate 01 02 03 04 05 06

700 sqm. 2000 sqm. 150 sqm. 100 sqm. 100 sqm. 600 sqm.

07 08 09 10

500 sqm. 15.000 sqm. 500 sqm. 500 sqm.

11 12 13 14

800 sqm. 250 sqm. 50 sqm. 100 sqm.

Arrival Platform + Foyer _Temporary Display_ _Auditorium_ Shop


Bathrooms Walkways + Elevators

Delivery _Archive_ Transit Hall Packaging Area

Office Administration Depot Cantine

15 16

50 sqm. 2000 sqm.

Bathrooms Walkways + Elevators



Technical elements


24.400 sqm.





Map of Switzerland with cantons and surrounding countries. By author.




SBB + CFF+ FFS Trainline

This thesis project is in dialogue with former and current conditions of archiving, displaying and trading. These are manifested in physical elements, which have been present in the choosing of site for my proposal. In order to fully comprehend and grasp these elements i went on a train trip through Germany and Switzerland, stopping in Basel and Geneva, two of the cultural and financial capitals in modern art and business. It soon became evident that the new satellite of Port Francs needed to in Basel, a grand art capital with a strong and efficient transportation network. The following paragraphs are notes from this field study. Renowned for its vast amount of galleries, museums and general cultural scene, Basel is situated in the northern part of Switzerland. Its borders tanget Germany and France at a monument tri-point titled “Dreiländereck”. The triangle of borders makes Basel an international hub for foreign workers and crossborder trades.

Basel also have suburbs in the two surrounding countries. In 1661 the first public accessible museum of art “Kunstmuseum” opened in Basel, thus providing an insight in what once was a privilige for the private owner. I visited the addition to the Kunstmuseum titled “Neubau”, a 2016 building by Christ & Gantenbein. The addition responds to several surrounding conditions. Its placement in the perimeter of a large intersection provide it with plenty of publicity, but also distances itself form the building it is addition to. It turns itself into a character in dialog with its predecessor. The dialog is further enhanced when entering the building through the grey/ beige brick facade. The large exhibition spaces continues to the basement and connects the “Neubau” with the “Kunstmuseum” through an underpass passage. This subtle, yet grand space of display rooms offer a “walktrough” transition from old to new and vice versa. This descend and ascend from building to building is certaintly a gesture worth noting for the further design of this thesis proposal. I belive this reference is directly relevant in its public dialouge, combined building program and choice of material. Furthermore the building features a recess in its facade, signalling the title of current exhibitions with large capital lettered words. This building element is concerned with informing its context about its intentions and program.

1270 km +



A culture central The Kunstmuseum is only one of several venues for displaying and storing culture and art in Basel, a few other noteable ones are the Basel Museum of Contemporary Art, Kunsthalle Basel, Fondation Beyeler and the ( Jean) Tinguely Museum. Once a year these, and the rest of the worlds finest art collectors come together at the local event Art Basel. This fair is providing a platform for displaying, buying and supporting local and foreign art. In 2019 it attracted 93,000 visitors through 6 days of fair. The entry point to Basel by train is passing through 2 central stations. One at the northern point, Basel Badischer Bahnhof, this is where you would typically pass through when you arrive from Germany. The other station Basel SBB is considered the main station, and it is also in its perimeter i plan to work with this project.

Continuing the trainline i travelled from Basel SBB to Geneva Gare de Cornavin Central Station. I chose to visit Geneva as this is home to the Freeport “Port Francs”. Port Francs is a warehouse and storage building under the typology “Freeport”, as explained earlier.

A common element of all freeports is their location in connection to infrastructural transits, airports, trainlines, and such.

Right Overview map of Basel with the two central transit stations Basel SBB and Basel Bad Bf. By author.

Basel Bad Bf.

Basel SBB.

42 1. 2.






Dialogue 01. Basel SBB Station. 02. Bank of International Settlements 03. Residential 04. Freight Terminal 05. Wolfgottesacker Cemetery The intentions of this building is to situate itself close to means of transit, and in a public context providing a platform of perceivers to engage with the archives temporary display. With this, the proposal needs to situate its physical location of site while considering its massive size and demands of its program. The diagram illustrates the trainline infrastructure at Basel SBB Central Station. One end provides passenger transit and the change of carriages for the people travelling by train. The other end is a cluster of tracks, changing and overlapping, alternating their direction according to arrival and departure. Marked with an outlined circle are the tracks with a terminal ending, acting as temporary storage for trains either waiting to depart or being handled and restored by the SBB Trainline Service. Left Map of Basel SBB and surrounding area. Field of railways, funnelled by residential housing and the Wolfgottesacker cemetery. By author.

On the opposing page is a drawing and marking of cultural and historic institutions in Basel whom i relate to in the program and site of my proposal. The existing conditions provide a public platform with returning potential users of the museums and galleries of Basel. It also ensures the possibility of future tenants of the buildings archive. I imagine my project to be the host of several collections from the public galleries and in that way my proposal will develop an engaging exchange with the exisiting institutions. Each of the galleries and museums in Basel hosts a collection of art. Displayed in an exhibition, a windowsill or temporarily stored and kept in the back. When the art is not on display or sold it must therefore be stored elsewere. The building i propose could facilitate this storage and engage with the existing cultural environment of Basel. Messe Basel is a convention hall hosting events such as Art Basel, Swissbau and more. During these events the surrounding countries gather and exchange goods and works. The building i propose could facilitate these transactions and the safekeeping of goods in transit.

I imagine a convenient and sympathetic relationship between the facilitating building, and the engaging cultures.




1. 2. 3. 4. 5. 6. 7. 8.





Markthalle Basel. Bahnhof Passerelle. Bank of International Settlements. Post Office. Basel University Library. Freight Terminal. Maintanence Central. Cemetary.

Tram. Pedestrians. Thesis Site.







The site for the building proposal is outlined on the drawing above, along other points of interest in relation to accesibility and program. Located in the freight end of the Basel SBB station, the site is leaning against the Wolfgottesacker cemetery on one side, and a field of train tracks on the other. One element contributing with the inlet for importing cargo, and one element acting as an “archive� for the deceased.

This meeting and placement provides access both through the public paths of the cemetery, as well as by railway on the existing transit network. The curving line marks the entry to site with the tram from Basel centrum.


Fig. 20



Fig. 21

20. Neubau Kunstmuseum Basel. 2016 Photography by Stefano Graziani. 21. Wolfgottesacker cemetery.


Fig. 22

Basels residential buildings and their choice in materials are very consistent in their use and expression. The driveways are paved with concrete slabs, bordered by deep green cypresses and pinetrees. The facades are represented in pale and calm tones often finished in plaster or stucco. Curtains are very present and alternates between drapes and blinds.


Local materiality Fig. 23

22. Residential building Basel, 2020. By author. 23. Handrail Basel, 2020. By author.


Fig. 24

Design Strategy


Common The building derives from the meeting between two programs. The merge of public and confidential, an archive and a museum, proposes several architectural challenges. The design strategy is to involve the public with the private through several intersections, amongt them being,

24. Painting overlays of archive, platform, museum and paths. By author.

A common ground (train platform).

A path (through the archive).

A display (museum).

The approach to the building design is to develop through the meeting and generate common moments for the programs to overlap and engage. The structure of the building design is generated by a few dogmas which are explained on the following spread.


Common Platform

Inviting the railway into the building

Considered to be at the center of the proposal is the train platform. The platform not only serves the arrival and departure of trains, it is also a common ground for observing and waiting. This combination of viewing, waiting and the pragmatic, is one of the main elements in bringing together the infrastructure of the archive, and the viewing of the museums. The platform will serve as a conductor of passengers throughout the building.

Archive Path

Partial access for the public, to the archives To engage in a dialogue with the confidential and private, the archive is to be fitted with a public path through the aisle of storage cabinets. This will provide an insight and a broadened awareness of what is actually happening in the building. This path is in relation to the platform, conducting the course through the building. The path is a unidirectional line that is choerographed give an insight without contaminating the solitude of the archive.



Involving the infrastructure with the exhibition Partial insight of the practicalities of shipping and recieving is important in the development of the exhibition building. By revealing certain curated elements of the moving of goods, the building will strive to mediate the transfer from concealed to disclosed. This will be apparent in the choice of materiality but also in the arrangement of spaces. By overlaying the paths of the public, with the flow of the shipping and transit, a renewed insight is to be achieved.


Pedestrian arrival

In addition to the arrival by train, visitors can arrive by foot, walking from Basel centrum to the Wolfgottesacker cemetery. Through the cemetery gardens the visitors will stroll through an alleĂŠ of pinetrees as they make their way to the entrance. During this walk they will see the building from afar, and become aware of its components - the platform, the archive and the museum.




Thoughts From the offset this thesis intended to evaluate contemporary archives and their approach to confidentiality and finance. This thesis proposed several questions on the storing of cultural artifacts and the involvement of the public in private affairs. This proposal, critiques the neutrality of Switzerland while providing an alternative angle to its current situation. Despite regulations and critisism the speculation and financial scheming of cultural objects still remains. The legislations surrounding these matters still offers opportunity for acts of fraud. The thesis contributes with an alternative program, providing an insight and view to the questionable operations of the Swiss freeports. Even though this proposal is re-working the facilities for arrival, departure and exhibition surrounding the freeport typologies, the immorality and ethics are still to be resolved.

This is an attempt to remove the veil, it is not an entire resolution.






In order to properly direct and choreograph the entering and leaving of people and objects, the building must be fitted with a signage and identity. This is to ensure that the foreign and local elements both navigate the building with confidence.

Its a common element of both storage facilities and museums to be guided effeciently. This thesis proposal seeks to re-think the meeting between these two typologies and therefore plans for a common uniform identity of the building. The following pages study the work of Josef MĂźller-Brockmann and his manual “Passenger Information Systemâ€? for the Swiss Federal Railways SBB CFF FFS.

This thesis proposal building will develop its own manual for design, which will guide the visual identity of signs, logos and colours.


Josef Muller Brockmann


Manual SBB, CFF, FFS In the 1970s the Swiss Federal Railways (SBB) expanded greatly as a response to the growing private industry of transportation. Its much due recognition as the nations means of transport was underlined with a refresh of its graphic identity. The re-branding of the SBB CFF FFS was mainly images and color, based on pictograms, track numbers and displays of departure and arrival information. The design was commissioned to Josef Müller-Brockmann, whos rational and systemisch approach generated a comprehensive and common signage to guide passengers to their destination. When designing it was important to keep in mind Switzerlands several languages, composed of German, French, Italian and Romansh. Thus the visual identity ended mostly withouth the usuage of words, except for the destination names and addresses.

A. DSB “De Danske Statsbaner”. Danish State Railways. B. BR “British Rail”.

The manual for the design became widely acknowledged and its influence is today also present in the identity of DSB A and BR B.

Fig. 24. 2.02 Principles of track lettering. 1978 - 80. Design by Josef Müller-Brockmann. Page from “Passenger Information System: Design Manual for the Swiss Federal Railways”.

Publisher; Lars Müller + Co.


Fig. 25. 7.2 Stations and facades. 1978 - 80. Design by Josef Müller-Brockmann. Page from “Passenger Information System: Design Manual for the Swiss Federal Railways”.

Publisher; Lars Müller + Co.


Fig. 26. 2.2.1 Principles of Pictograms. 1978 - 80. Design by Josef Müller-Brockmann. Page from “Passenger Information System: Design Manual for the Swiss Federal Railways”.

Publisher; Lars Müller + Co.


Fig. 27. 4.1 Typeface (Helvetica Bold) slightly edited. 1978 - 80. Design by Josef Müller-Brockmann. Page from “Passenger Information System: Design Manual for the Swiss Federal Railways”.

Publisher; Lars Müller + Co.




All images by the author unless listed below 01.

El Lissitsky, Untitled from Proun, 1919 - 23.


Friedli, Werner, Luftbild Schweiz, Basel SBB, 1956. ETH Archive. ETHBIB.Bildarchiv_LBS_H1-019388_532557.html


Unknown author, Lago Maggiore.


Unknown author, Bahnhof Uster, 1967.


Quartz, Statistics, 2016.


Snoek, Henk (1915-1980), Sheffield Western Bank Library. 1959. Architectural Press Archive. RIBA Collections. image-information/poster/library-later-western-bank-library-university-of-sheffield-the-voucher-and-staff-counterand-catalog/posterid/RIBA51518.html


Beuys, Joseph Felt sculptures, 1964. Graphite and oil paint on paper.



All images by the author unless listed below 08.

Patrick de GoumoĂŤns, Lake Geneva, 2006


Friedli, Werner, Luftbild Schweiz, La Praille, 1966. ETHBIB.Bildarchiv_LBS_H1-026493_538877.html


Braden King, Field of Vision, National Disintegrations, film, 2017

11. 12. 13. 14. 15.

Ibid, Ibid, Ibid, Ibid, Ibid,


Friedli, Werner, Luftbild Schweiz, La Praille, 1966. ETH Archive.


Graziani, Stefano, Neubau Kunstmuseum Basel, 2016.


Unknown author, Wolfgottesacker cemetery.



All images by the author unless listed below 24.

Passenger Information System: 2.02 Design Manual for the Swiss Federal Railways, M端ller-Brockmann, Josef (1992): Fahrgastinformationssystem FIS, Gestaltungshandbuch f端r die Scweizerischen Bundesbahnen von Josef M端ller-Brockmann.

25. 26. 27.

Publisher; Lars M端ller + Co, 2019.

Ibid, 7.2 Ibid, 2.2 Ibid, 4.1




Readings Miessen, M. and Chateigné, Y., The Archive As A Productive Space Of Conflict. Publisher; Sternberg Press, 2012. Müller-Brockmann, Josef Fahrgastinformationssystem FIS, Gestaltungshandbuch für die Scweizerischen Bundesbahnen von Josef Müller-Brockmann. (1992) Publisher; Lars Müller + Co, 2019. Kliment, Stephen A, Building Type Basics for Transit Facilities. Publisher; Wiley & Sons, Inc, 2004. Kahneman, D. and Egan, P. Thinking, Fast And Slow. Publisher; Penguin Books Ltd, 2012. Auge, Marc, “Non-places: Introduction to an anthropology of supermodemity” Publisher; Verso Books, 2009. Swiss Info, Times, New York, “Swiss Freeports are Home for A Growing Treasury of Art”.



Readings Council, The Federal Times, New York, “One of The Worlds Greatest Art Collections Hides Behind this Fence”.




A Field of Persuasive Gestures, Swiss and Foreign Affairs Master of Arts in Architecture RIBA Part II


Studio 2A , Spring 2020


The fellows of 2a deserves an applause, whom without this thesis would’ve never been.

Good sport.

Written by Supervised by

Mathias Kruse Carolina Dayer


Cyklus Offset 120 gsm Canson

Typography Arno Pro Regular Italic Monument Grotesk Medium Run Format

5 170x290 mm.



Profile for Mathias Kruse

A Field of Persuasive Gestures, Swiss and Foreign Affairs  

Thesis, Mathias Kruse, Studio 2A, Spring 2020. Supervised by Carolina Dayer.

A Field of Persuasive Gestures, Swiss and Foreign Affairs  

Thesis, Mathias Kruse, Studio 2A, Spring 2020. Supervised by Carolina Dayer.


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