Swiss Design
Classics 瑞士经典设
计展

Courtesy Engiadina Antik
engiadina-antik.ch

Courtesy Engiadina Antik
engiadina-antik.ch
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The exhibited Schmersammler-Stuhl, also known as the Fat Chair, offers a playful interpretation of 18th-century design. Characterized by a semi-circular backrest and seat, this archaic chair is constructed with back and armrests made from a single piece of wood, while its legs are securely fitted into a groove on the seat. The term ‘Schmer,’ meaning fat, reflects the chair’s name, as it was often used by larger individuals who had to squeeze into its snug form. This simple yet functional design was prevalent in peasant households, showcasing practical aesthetics over ornamentation.

Private collection, Switzerland

Private collection, Switzerland

Courtesy Federal Office for Buildings and Logistics
bbl.admin.ch
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Johann Friedrich Funk I was a Swiss master carpenter who belonged to a famous family of cabinetmakers. His works, such as the gilded wooden mirror on display here, reflect the grandeur of the Rococo period, when mirrors symbolized wealth and power. Funk’s work represents a blend of traditional craftsmanship and luxurious design, which played a significant role in Swiss furniture history. The Rococo style, which originated in France around 1730, is known for its asymmetrical shell-like ornaments. Funk specialized in furnishing stately Swiss homes, and gilded mirrors, such as this one from Bern, were among his most popular creations.

Courtesy Federal Office for Buildings and Logistics
bbl.admin.ch

Private collection, Switzerland

Private collection, Switzerland

Private collection, Switzerland

Courtesy F. Blumer & Cie AG
blumer-f.ch

Courtesy Victorinox
victorinox.ch

Courtesy Ed. Jobin AG
jobin.ch

Courtesy IC Design
icdesign.ch
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Founded by Hugo Ball and Emmy Hennings on Febru- ary 5, 1916, Cabaret Voltaire in Zurich became the birthplace of the Dada movement, which radically challenged the conventions of art. The exhibited marionettes by Sophie Taeuber-Arp, designed for a Dada performance, evoke early reflections on the relationship between humans and machines. Over a century ago, artists speculated on the possibility of mechanical beings – a vision increasingly relevant today.

Private collection, Switzerland
sigg.com

Courtesy Embru
embru.ch
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Swiss architect Hannes Meyer, director of the Bauhaus from 1928 to 1930, diverged from his Bauhaus colleagues by emphasizing social needs over artistic or geometric purity. Unlike Bauhaus designs that used costly materials such as steel tubing – as seen in the exhibited Roth Tubular Steel bed – Meyer worked with found and affordable materials to create functional and accessible furniture. His Minimum Bedroom design, published in Das Werk in 1926 under the title Die neue Welt, exemplifies his focus on simplicity and utility. Though this approach did not take root in Switzerland at the time, it is increasingly relevant in Europe today, as seen in the later work of designers like Guy Meldem, who similarly use recycled materials.

Courtesy Federal Office for Buildings and Logistics
bbl.admin.ch
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Le Corbusier, together with Pierre Jeanneret and Charlotte Perriand, designed the Sofa 2, Fauteuil Grand Confort, small model, 3 seats in 1928 as part of their search for modern furniture solutions. Starting in 1925 with the Pavillon de l’Esprit Nouveau, Le Corbusier emphasized the creation of furniture tailored to modern architectural spaces. By 1929, at the Salon d’Automne, they presented several designs, including the exhibited sofa, which showcases tubular steel frames and voluminous leather cushions. These pieces broke away from the heavy, ornamental styles of the time, emphasizing rational and efficient material use through the clear separation of frame and cushions. The modular nature of the sofa allowed for adaptability in various interior settings.

Courtesy teo jakob
teojakob.ch

Courtesy Embru
embru.ch

Courtesy teo jakob
teojakob.ch

Private collection, Switzerland

Courtesy Embru
embru.ch

Courtesy Vitra
vitra.com
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The Landi Chair by Hans Coray, created for the 1939 Swiss National Exhibition, is a landmark of early aluminum furniture. Made entirely of aluminum, the chair weighs only 3 kilograms and features a perforated seat shell with 91 holes, reducing weight while maintaining stability. Coray’s innovative design influenced later furniture developments, including the famous Eames Chairs, and remains a timeless example of Swiss modernist design, now produced by Vitra.

Courtesy teo jakob
teojakob.ch
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Meret Oppenheim, a prominent representative of Surrealism – a movement that explored the unconscious and placed everyday objects in new contexts – created the Traccia table. The table, which features bird footprints on its surface, plays with functionality and invites viewers to rethink the boundary between art and everyday objects.

Courtesy Mondaine
mondaine.com
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The Swiss Railways Clock, designed in 1944 by Hans Hilfiker, epitomizes precision and functional design. Its minimalist face, without numbers, and its iconic red second hand – reminiscent of the signal disc used by railway personnel – are hallmarks of Swiss reliability. The unique pause of the second hand at the top of each minute to synchronize is a feature still in use today, visible at every railway station in Switzerland.

Courtesy IC Design
icdesign.ch

Courtesy Feller
feller.ch

Courtesy Embru
embru.ch

Courtesy Teo Jakob Art Collection Trust
teojakob.ch
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Swiss designer Willy Guhl’s plastic shell chair, created before Charles and Ray Eames’ famous Eames Plastic Chair DAX (1950), represents an early milestone in the development of synthetic materials for furniture. Although Guhl’s chair never went into mass production, it secured a place in design history. Guhl’s ergonomic approach involved having beachgoers sit on wet clay to establish optimal seating positions, forming the basis for his design, which was submitted to the 1948 MoMA International Competition for Low- Cost Furniture Design in New York. Though the Eames Plastic Chair DAX chairs gained wider fame, Guhl’s chair predated their use of plastic, marking a significant moment in furniture innovation.

Courtesy Baltensweiler
baltensweiler.ch

Courtesy Swisspearl
swisspearl.com
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The Loop Chair by Willy Guhl, first introduced in 1954, is another hallmark of post-war Swiss furniture design. Made from molded fiber cement, the chair’s flowing, minimalist form allows for a variety of reclining positions. Guhl’s innovative process involved shaping freshly pressed fiber cement into a curved band that provided both structure and flexibility. After the ban on asbestos in the 1970s, Guhl collaborated with Swisspearl to produce an updated version using asbestos-free materials. The Loop Chair remains an iconic symbol of Swiss industrial design, combining elegance with ergonomic function.

Courtesy Swisspearl
swisspearl.com

Courtesy Arber GmbH
arber.li

Courtesy Federal Office for Buildings and Logistics
bbl.admin.ch
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Le Corbusier, a renowned Swiss architect, artist, designer, and educator, designed the city of Chandigarh in India, while his cousin Pierre Jeanneret designed the furniture for the administrative buildings. The furniture, such as the Library Bench displayed here, is characterized by clean lines and the use of native woods. Jeanneret worked closely with local craftsmen to create robust furniture that could withstand the region’s climate. These pieces blend Swiss modernism with local materials and artisanal traditions.

Courtesy Federal Office for Buildings and Logistics
bbl.admin.ch

Courtesy Naef Spiele
naefspiele.ch

Courtesy Arber GmbH
arber.li

Courtesy Lehni
lehni.ch

Courtesy Vitra
vitra.com
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The Panton Chair Classic, designed by Danish architect and designer Verner Panton and produced by Swiss company Vitra since 1967, was the first cantilevered plastic chair molded from a single piece. Its organic, sculptural form revolutionized furniture design. The production process posed significant technical challenges, as the available plastic technology initially could not fully realize Panton’s vision. Vitra played a crucial role in bringing the design to life by providing the technical expertise and infrastructure needed for mass production. Today, the Panton Chair Classic is an icon of 20th-century design and can be found in museum collections worldwide.

Private collection, Switzerland
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Le Corbusier, together with Pierre Jeanneret and Charlotte Perriand, designed the Sofa 2, Fauteuil Grand Confort, small model, 3 seats in 1928 as part of their search for modern furniture solutions. Starting in 1925 with the Pavillon de l’Esprit Nouveau, Le Corbusier emphasized the creation of furniture tailored to modern architectural spaces. By 1929, at the Salon d’Automne, they presented several designs, including the exhibited sofa, which showcases tubular steel frames and voluminous leather cushions. These pieces broke away from the heavy, ornamental styles of the time, emphasizing rational and efficient material use through the clear separation of frame and cushions. The modular nature of the sofa allowed for adaptability in various interior settings.

Courtesy Lehni
lehni.ch
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The Lehni Aluminium Shelf, designed by Andreas Christen and first exhibited at the 1964 Swiss National Exhibition in Lausanne, exemplifies the minimalist principles of Swiss industrial design. Made from bent aluminum, its lightweight yet sturdy construction has made it an enduring icon of functional design. Originally a roofing company, Lehni transitioned into furniture production, with the shelf marking their entry into the field. Today, the Lehni Aluminium Shelf remains a staple of modern interiors, celebrated for its simplicity and durability.

Private collection, Switzerland

Courtesy Teo Jakob Art Collection Trust
teojakob.ch
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From the late 1960s, the palm tree became a recurring motif in the works of Swiss artist Friedrich Kuhn. Conceived during a hospital stay, Kuhn’s palm symbolized a bourgeois yearning for freedom and unspoiled nature. However, Kuhn often employed this motif with ironic undertones, using it not just as a romantic symbol but also as a critique of consumerism and the commercialization of nature. This ambivalence makes Kuhn’s work a poignant reflection on post-war societal aspirations and contradictions.

Courtesy Teo Jakob Art Collection Trust
teojakob.ch
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Trix and Robert Haussmann, pioneering Swiss designers, challenged traditional design norms by blending modernist rigor with playful elements. Their Chair Fun: Choco Chair, presented in the 1967 Chair-Fun exhibition, appears to melt, while the Chair Fun: Trio clev- erly intertwines three historically significant Thonet chairs. These pieces reflect the Haussmanns’ critical and ironic approach to traditional furniture, questioning both form and function in a way that still resonates in contemporary design discourse.

Courtesy Teo Jakob Art Collection Trust
由特奥·雅各布艺术品收藏信托提供
teojakob.ch
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豪斯曼夫妇是瑞士的先锋设计师组合，乐于挑战传统设计
规范，将现代主义的严谨与趣味元素完美融合。在1967年
举办的“椅趣”展览中，他们展出了两把极具创意的椅子，
分别是看起来像快要融化了的“椅趣：巧克力椅”和“椅
趣：三连座”，后者巧妙地将三把具有重要历史意义的索
耐特椅交叠在一起。两件作品反映了豪斯曼夫妇对传统家
具的批判和讽刺，这种对形式和功能的质疑在当代设计界
仍能引起共鸣。
Trix and Robert Haussmann, pioneering Swiss de-
signers, challenged traditional design norms by blend-
ing modernist rigor with playful elements. Their Chair
Fun: Choco Chair, presented in the 1967 Chair-Fun ex-
hibition, appears to melt, while the Chair Fun: Trio clev-
erly intertwines three historically significant Thonet
chairs. These pieces reflect the Haussmanns’ critical
and ironic approach to traditional furniture, question-
ing both form and function in a way that still resonates
in contemporary design discourse.

Courtesy Teo Jakob Art Collection Trust
teojakob.ch
–
From the late 1960s, the palm tree became a recurring motif in the works of Swiss artist Friedrich Kuhn. Conceived during a hospital stay, Kuhn’s palm symbolized a bourgeois yearning for freedom and unspoiled nature. However, Kuhn often employed this motif with ironic undertones, using it not just as a romantic symbol but also as a critique of consumerism and the commercialization of nature. This ambivalence makes Kuhn’s work a poignant reflection on post-war societal aspirations and contradictions.

Private collection, Switzerland

Private collection, Switzerland

Courtesy de Sede / Classic Living, Beijing
classicinternational.com.cn
desede.ch
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Designed by Ubald Klug in the 1970s and produced by de Sede, the DS-1025, Terrazza sofa draws inspiration from the terraced landscapes of the Swiss Alps. The layered seating levels offer a sculptural yet func- tional lounging experience, embodying Swiss design’s fusion of meticulous craftsmanship and artistic freedom. This design became a symbol of Swiss luxury furniture, with de Sede continuing to be recognized for high-quality leather furnishings in exclusive collections worldwide.

Courtesy Federal Office for Buildings
and Logistics
bbl.admin.ch

Private collection, Switzerland

Courtesy Federal Office for Buildings
and Logistics
bbl.admin.ch

Teo Jakob Art Collection Trust
teojakob.ch
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Trix and Robert Haussmann’s Wall Chest and Roller Shutter Cupboard, produced by Röthlisberger, blur the boundaries between functionality and surrealism. The Wall Chest, designed to look like a brick wall but crafted from wood, plays with architectural illusion, while the Roller Shutter Cupboard incorporates innovative wooden slats for a rolling shutter effect. Founded in 1928, Röthlisberger became known for producing high-end furniture in the 1970s. Both pieces are now considered representative examples of Swiss craftsmanship and innovation, with the Roller Shutter Cup- board still in production today.

Courtesy Lehni
lehni.ch

Courtesy Teo Jakob Art Collection Trust
teojakob.ch
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The Stack of Drawers by Susi and Ueli Berger, inspired by a visit to a Zurich second-hand store, transforms a random pile of drawers into a piece of functional art. Each of the seven drawers is angled and made from veneered palisander wood, resulting in a playful yet sophisticated design. The Compartment Man Shelving Unit, a standing shelf shaped by tracing Ueli Berger’s body, includes 34 compartments for storing books and objects. Both designs were part of the Röthlisberger Collection in 1977, highlighting Swiss creativity through the merging of everyday functionality with artistic innovation.

Courtesy Teo Jakob Art Collection Trust
teojakob.ch
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The Quarta chair demonstrates how Mario Botta’s architectural principles influence his furniture design. The chair, with its clear geometric forms made of steel, reflects the structure and balance that also define his buildings. Botta once said about this work: “In design- ing this chair, I pursued the image and memory of a strong, transparent building.”

Courtesy Teo Jakob Art Collection Trust
teojakob.ch

Private collection, Switzerland

Courtesy Thut
thut.ch

Courtesy Federal Office for Buildings and Logistics
bbl.admin.ch

Private Collection, Switzerland

Courtesy Freitag lab. AG, Shanghai
freitag.ch

Courtesy Thut
thut.ch
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The Foil Cupboard by Kurt Thut, available in various colors, was designed in the 1990s and appealed to a younger generation seeking lighter but still sturdy fur- niture suitable for a nomadic lifestyle. Although Thut created this piece later in his career, it is considered one of his major works. It embodies the principles of Swiss design – simplicity, functionality, and durabil-ity while addressing contemporary needs, demonstrating how Swiss furniture traditions have evolved.

Courtesy Federal Office for Buildings and Logistics
bbl.admin.ch

Courtesy Teo Jakob Art Collection Trust
teojakob.ch

Courtesy Thut
thut.ch

Courtesy MOX
mox.ch

Courtesy Swisspearl
swisspearl.com

Courtesy Moustache
moustache.fr

Courtesy Moustache
moustache.fr

Courtesy Vitra
vitra.com
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The Tip Ton RE chair, designed by Edward Barber and Jay Osgerby for Vitra, is made from recycled plastic, including particles from the “yellow bag” household waste system. The chair was developed in collabora- tion with the Swiss manufacturer Vitra, exemplifying how Swiss design history is shaped not only by innovative designers but also by renowned manufacturers. Displayed alongside the chair are plastic particles used in its production. The gray color of the Tip Ton RE is the natural hue of the recycled material, with tiny flecks that give depth and liveliness to its surface.

Courtesy Baltensweiler
baltensweiler.ch

Courtesy AATB
aatb.ch
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The modular tiling system Rooting, developed by AATB in collaboration with Atelier Luma, offers an innovative approach to outdoor flooring. The concrete tiles are inspired by algorithms that generate natural patterns, such as those found on animal fur or seashells. A key function of the tiles is to allow water to permeate through them, enabling proper drainage and encouraging the growth of plants, moss, and grass between the tiles. Each tile can be rotated 90 degrees to seamlessly fit adjacent modules, creating unique, non-repeating patterns. Rooting combines aesthetic design with ecological functionality and was awarded the Swiss Design Award in 2021.

Courtesy Laurin Schaub
laurinschaub.ch

Courtesy Girsberger
girsberger.com

Courtesy OKRO
okro.com

Private collection, Switzerland
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The Armchair (from the series ‘Meubles Meldem’) by Guy Meldem exemplifies contemporary Swiss design’s focus on sustainability and simplicity. Made from reclaimed wooden slats and foam, the chair reinterprets traditional notions of comfort and functionality. Meldem’s designs blur the boundaries between sculpture and furniture, reflecting a broader movement in Swiss design towards ecological consciousness and innovative material use.

Courtesy Ruckstuhl
ruckstuhl.com
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The FELLOW Tapetum ordinatum 008 by Stephan Hürlemann for Ruckstuhl combines traditional carpet-making with digital technology. By scanning the QR code next to this text, you can access the “diary” of the carpet, where its owners can record their experiences. Each carpet is unique, with an individual segment chosen from a larger image and produced only once. Over time, the carpet develops a patina, telling its story, and the digital certificate confirms the provenance of each piece.

Courtesy Hot Wire Extensions
hotwireextensions.com
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Hot Wire Extensions, a Swiss design studio, works with waste materials from the 3D printing industry, which are often overlooked. These materials are transformed into functional designs, including the stool on display here. The studio challenges the often unexamined environmental impact of 3D printing and offers sustainable alternatives in design.

Courtesy Tabea Wschianksy
tabeawschiansky.com

Courtesy Laure Gremion
lauregremion.ch

Courtesy Varia Instruments
varia-instruments.com

Private collection, Switzerland

Courtesy Juri Roemmel
juriroemmel.ch

Courtesy MOX
mox.ch

Courtesy Studio Eidola
studioeidola.ch
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Tectonic Dusts by Studio Eidola, displayed here as a sculptural installation, transforms waste materials from quartzite processing into building components. This innovative process, which converts fine dust into bricks and tiles, mirrors natural geological cycles. By using industrial by-products, Tectonic Dust presents a sustainable approach to construction, highlighting the aesthetic possibilities within waste materials. Studio Eidola, founded in 2020, combines material science with architectural design to explore new uses for industrial waste in construction and furniture design.

Courtesy Studio Dorsa
dorsa.cc
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In the 18th century, Verdure tapestries brought nature indoors – a highly stylized and exoticized version of nature that served as a symbol of wealth in affluent Swiss households. In contrast, the work Migration Palm by Studio Dorsa shows how humans attempt to control nature. The Chinese palm, introduced to Switzerland in the 19th century, is spreading due to climate change and displacing native plants. In a symbolic act, Studio Dorsa placed a palm tree on the melting Rhone Glacier in 2024 to highlight environ- mental changes. The palm was long used as an adver- tising symbol for the southern Swiss region of Ticino, as seen in the exhibition’s poster section.

Courtesy Vitra
vitra.com

Courtesy Laure Gremion
lauregremion.ch

Courtesy Ruckstuhl
ruckstuhl.ch
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“Switzerland in Wool” sets the stage for the Swiss Design Classics exhibition, offering a tactile introduc- tion to the country’s iconic topography, crafted from the wool of the Swiss Valais Blacknose sheep. This rug symbolizes not only the picturesque Switzerland, known for its mountains, but also the evolution of Swiss design, which gained momentum in the 19th century with industrialization, the establishment of textile companies, and furniture factories. Ruckstuhl, Switzerland’s oldest carpet manufacturer and the maker of this rug, combines traditional values with innovation. The exhibition highlights how Swiss de- sign became a globally recognized hallmark.

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich
(Donation: Switzerland Tourism, Zurich)
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In 2025, Switzerland and China celebrate 75 years of diplomatic rela- tions. This strong connection is reflected in the symbolic natural won- ders of both countries, such as the Matterhorn in Switzerland and Jade Dragon Snow Mountain in China. The villages nestled at the base of these peaks, Zermatt and Lijiang, have even forged official partnerships for this reason.
The Swiss Design Classics exhibition not only showcases furniture pieces but also offers a deep insight into Swiss graphic design. The iconic tourism posters symbolically document the development of a globally recognized design language, which became world-famous by the 1950s. The six contemporary posters displayed here were com- missioned in 2024 by Switzerland Tourism, an organization that has collaborated with renowned artists for over 120 years to promote Swit- zerland as a travel destination. Many of the iconic posters featured later in the exhibition were also provided by Switzerland Tourism.

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Otto Baumberger, 2024, ProLitteris Zurich
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This 1920s poster by Otto Baumberger highlights early Swiss graphic design, juxtaposed with the traditional wooden chair, which retains its characteristic curved legs, similar to the 18th-century chairs exhibited here. Baumberger’s bold geometric forms predate the design modernism exemplified by Le Corbusier’s sofa, created just a few years later. Known for his abstraction and minimalism, Baumberger played a pivotal role in modernizing Swiss poster art, setting a foundation for later developments in graphic design.

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Otto Baumberger, 2024, ProLitteris Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich
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Walter Käch’s poster Form Without Ornament, designed in 1927 for an exhibition at the Arts and Crafts museum Zurich, is an early example of functional Swiss graphic design. The title is integrated into the shapes of pliers and a hammer, reflecting the theme of the exhibition. In the 1920s, both graphic design and furniture design became less ornamental, as can be seen in the furniture displayed here. This poster embodies the modern philosophy of prioritizing function over form and is considered a milestone in Swiss design aesthetics.

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich
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Julius Maggi founded the Maggi company in 1882 to combat the issue of malnutrition, a problem exacer- bated by industrialization. He developed affordable, nutritious foods, including the first ready-to-use soup in 1886 and the famous Maggi seasoning. In addition to the iconic brown bottle with its yellow-and-red label, the posters on display also feature Maggi bouil- lon cubes with their distinctive packaging. These posters employed a cohesive use of colors, fonts, and logos – a precursor to modern corporate design.

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich
(Donation: Kloster Einsiedeln)

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Niklaus Stoecklin, 2024, ProLitteris Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich
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Julius Maggi founded the Maggi company in 1882 to combat the issue of malnutrition, a problem exacer- bated by industrialization. He developed affordable, nutritious foods, including the first ready-to-use soup in 1886 and the famous Maggi seasoning. In addition to the iconic brown bottle with its yellow-and-red label, the posters on display also feature Maggi bouil- lon cubes with their distinctive packaging. These posters employed a cohesive use of colors, fonts, and logos – a precursor to modern corporate design.

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich
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The Good Form poster, created for the 1954 exhibition at the Museum of Arts and Crafts Winterthur, was initiated by the Swiss Werkbund to raise awareness of good design. The exhibition and its accompanying poster emphasized functional, material-appropriate, and timeless design. Max Bill, a key figure in this project, drove the initiative to not only promote aesthetic education but also to improve the quality of everyday products. The poster itself reflected the exhibition’s core values with its minimalist typography and clear layout. The exhibition facilitated important exchanges between designers, producers, and consumers, solidifying the global reputation of Swiss design.

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich
(Donation: Switzerland Tourism, Zurich)

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich
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This 1960s/1970s poster promoting Swiss design plays with clichés by focusing on globally recognized Swiss tourist destinations rather than furniture. It demonstrates the innovative approach of Swiss advertising, which often blended traditional imagery with modern concepts. While Switzerland gained global recognition for its watches and typefaces, Swiss furniture remained less prominent until companies like de Sede and retailers such as Teo Jakob helped establish its international reputation. Exhibitions like Good Design in Switzerland, shown in the USA and Japan, played a pivotal role in positioning Swiss furniture as a global benchmark for functional elegance.

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich
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In 1961, Swiss architect Fritz Haller and entrepreneur Paul Schärer developed the USM Haller Modular Furniture System, now a global design classic. With steel tubes connected by spherical joints, the system offers limitless configuration possibilities. Originally designed for office use, it gained worldwide recognition for its flexibility and minimalist elegance. Today, USM Haller is found in homes, offices, and museums, including MoMA in New York and the Chongqing Museum in China, representing Swiss functional design worldwide.

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich (Donation: Kloster Einsiedeln)

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich / © Nicolas Faure, ProLitteris Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

MuCourtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

The bubbles in drinks not only enhance their taste but also make them visually more appealing. The widespread popularity of carbonated mineral water (also known as sparkling water) is largely due to the innovations of Jacob Schweppe. In 1783, this German-Swiss watchmaker and amateur inventor improved the production process of carbonated mineral water, building upon existing bubbly beverages. Schweppe began selling his carbonated water in Geneva, where it gained immediate popularity before expanding internationally. His pioneering approach established Schweppes as a leading name in the beverage industry. Today, Schweppes remains a global favorite, contributing to the rise in sparkling water consumption worldwide, including rapid growth in China.

In 1819, François-Louis Cailler founded Switzerland’s first chocolate factory, laying the groundwork for the country’s illustrious chocolate tradition. Over half a century later, in 1875, Swiss chocolatier Daniel Peter revolutionized the industry by creating milk chocolate. Collaborating with Henri Nestlé, who provided the condensed milk, Peter’s innovation set a new standard in confectionery, solidifying Switzerland’s reputation for high-quality chocolate. Today, Lindt, a prominent premium chocolate brand, has successfully introduced its products, including Lindor truffles and various pralines, to the Chinese market.

Ever wonder how we went from messy sugar loaves to the neat, convenient sugar cubes we use today? Swiss inventor Jacob Christoph Rad made that transformation possible. Before Rad’s invention, sugar came in hard, cone-shaped loaves that required tedious crushing. Rad’s sugar cubes simplified the process, making it easier to sweeten your coffee or tea and revolutionizing the way we use sugar.

Following the introduction of the world’s first stamp, the «Penny Black», in England in 1840, Switzerland swiftly joined the ranks of stamp-issuing nations. Zurich and Geneva issued their own stamps in 1843, making Switzerland the second country to adopt this innovation. Remarkably, in 1845, the northwest canton Basel-Stadt released the «Basel Dove», the world’s first multicolored stamp, which remains one of the most iconic Swiss stamps to this day. A few decades later, China’s first stamp, the «Large Dragons» series, was issued on September 1, 1878.

In 1859, the Battle of Solferino, one of the largest and bloodiest battles of the 19th century, resulted in severe casualties and the abandonment of over 40,000 injured soldiers due to inadequate medical care. This tragedy deeply moved Swiss businessman Henry Dunant, who, with four other prominent figures, founded the International Committee of the Red Cross in 1975. Today, the organization has 191 member countries and provides humanitarian protection and assistance to people affected by armed conflict and other violence, while working to uphold international humanitarian law. In 1912, China was officially recognized by the International Committee of the Red Cross, following the establishment of the Shanghai Cosmopolitan Red Cross in 1904 during the Qing Dynasty.

Farine Lactée, created by Henri Nestlé in 1867, was the first widely available infant cereal, designed as a nutritional supplement for babies who couldn’t be breastfed. This blend of wheat flour, malted barley, and milk provided a safe and easily digestible alternative to breastfeeding, addressing high infant mortality rates at the time. The success of Farine Lactée was crucial in establishing Nestlé as a global leader in nutrition.
Important Notice: Breast milk is the optimal source of nutrition for babies, and breastfeeding should be continued for as long as possible. The World Health Organization (WHO) advises exclusive breastfeeding for the first 6 months of life. Before deciding to use infant formula, please consult a healthcare professional for appropriate advice and support.

The molecule now known as DNA was first identified in 1868 by Swiss chemist Johann Friedrich Miescher. While examining white blood cells, Miescher isolated a substance he named «nuclein». Miescher’s discovery not only revealed the existence of nucleic acids but also pointed the way for future research. Although it did not immediately garner widespread attention at the time, Miescher’s research was crucial in unraveling the structure of DNA and transforming the fields of genetics and molecular biology.

The modern bicycle chain, crucial for efficient power transfer, underwent significant development in the late 19th century. In 1880, Swiss engineer Hans Renold patented a more durable and efficient chain, dramatically improving bicycle performance and reliability. His innovative design, characterized by precision engineering and high-quality materials, set new standards in chain manufacturing. Renold’s contributions remain a cornerstone in the history of bicycle engineering.

Courtesy Museum of Design, Poster Collection, ZHdK, Zurich

Bircher muesli was created by Swiss physician Maximilian Bircher-Brenner in the early 1900s. Designed initially as a nutritious meal for his sanatorium patients, it consists of rolled oats soaked in yogurt or milk, often complemented with fresh or dried fruits, nuts, and honey. Bircher-Brenner aimed to provide a wholesome, easily digestible breakfast that supported health and recovery. The dish gained popularity beyond his sanatorium, becoming a staple in healthy eating.

In 1910, the Switt engineer Robert Victor Neher patented a method for rolling aluminum into extremely thin foil. Despite its thinness, the foil remains opaque to light and air, making it ideal for preserving food. Neher’s first customer was the Tobler chocolate factory in Bern, which still wraps its iconic three-cornered Toblerone bars in aluminum foil today. Building on Neher’s innovation, Korff, a leading Swiss aluminum products company, now offers over 1,000 varieties of aluminum foil, with thicknesses ranging from 0.008 to 0.300 mm.

The first processed cheese was developed by Walter Gerber in Switzerland in 1911. They shredded natural Emmentaler cheese and heated it with sodium citrate, creating a smooth and homogeneous product that solidified upon cooling. Fifty years later, Gerber revolutionized cheese once again with the introduction of ready-made fondue. Fondue, the Swiss national dish, is more than a meal—it’s a social event where losing your bread might mean performing a fun task. It’s an occasion for storytelling, laughter, and relaxed enjoyment. Gerber Fondue is still available in popular varieties like L’Original, Moitié-Moitié, and Le Gruyère.

The Jungfraubahn, a historic Swiss cog railway, is renowned for transporting passengers through the breathtaking scenery of the Bernese Alps. Established in 1896 by visionary industrialist Adolf Guyer-Zeller, the railway connects Kleine Scheidegg with Jungfraujoch, famously known as the Top of Europe at 3,454 meters above sea level, making it one of the highest railway lines in the world and home to Europe’s highest railway station. Along the journey, passengers enjoy spectacular views of the iconic peaks of the Eiger, Mönch, and Jungfrau, culminating at Jungfraujoch station, which features an observatory, an ice palace, and sweeping panoramic vistas.

Imagine turning your colored pencil sketches into watercolor masterpieces with just a splash of water—Swiss brand Caran d’Ache makes it possible. Their «Prismalo» pencils are water-soluble, allowing colored pencil drawings to be transformed into vibrant watercolors. Since their introduction in 1931, these cedar wood pencils have provided artists with a unique tool to explore creative possibilities and enhance their artwork.

In 1934, Fritz Schori, an employee of a traditional lock and cash register factory in Zurich, revolutionised locking technology by developing the first cylinder lock with a reversible key. He named his invention Kaba (short for KAssenBAuer) in honour of the company’s founder, Franz Bauer. This breakthrough transformed global security standards. Founded in 1862, «Kaba» has now merged with Germany’s «Dorma» to form «Dormakaba», which has become one of the top leading companies in the global security and access solutions industry.

A global financial crisis led to the invention of instant coffee. After the Wall Street Crash of 1929, the Brazilian government was left with massive stockpiles of unsold coffee beans. To address this surplus, Nestlé was commissioned to develop a process for creating water-soluble coffee powder. After years of research, food chemist Max Morgenthaler perfected the method, and in 1938, «Nescafé» was launched, revolutionizing the coffee industry. Nestlé introduced Nescafé to the Chinese market in the early 1990s, and it has since become a staple in many households and offices across the country.

It all started with a dog. During a mountain hike in 1941, Swiss engineer George de Mestral noticed how burdock burrs clung to his dog’s fur, thanks to their tiny hooks. This simple observation from nature sparked an idea in de Mestral’s mind. Inspired by the burrs’ natural hook-and-loop mechanism, he developed a fastening tape that would revolutionize closures. By 1955, de Mestral had patented his invention under the name «Velcro», a solution now renowned for its simplicity and effectiveness in fastening.

There’s hardly a kitchen in Switzerland that doesn’t have a Rex vegetable peeler. Invented in Zurich in 1947 by Alfred Neweczerzal, a descendant of Czech immigrants, the Rex peeler remains a staple in both home kitchens and large-scale food preparation. Cherished by the Swiss, this little kitchen king is prized for its ability to peel not only vegetables and fruits but also cheese and chocolate, making it a true culinary icon.

In Switzerland, the development of total hip prostheses began in the mid-1960s, led by Sulzer (now Zimmer) in Winterthur, in collaboration with Swiss orthopedic surgeons. Total hip replacement, often referred to as «the operation of the century», has become one of the most successful and cost-effective treatments in modern medicine. Today, Zimmer remains a leading company in the field of artificial hip joints. Each year, over two million hip prostheses are implanted worldwide, with 20% of them manufactured by Zimmer.

In 1969, while astronauts were landing on the moon, Switzerland introduced a new culinary creation: Rakete, the ‘rocket’ popsicle. This frozen treat featured an orange-flavored red base with a translucent white pineapple layer above it, topped with a thin, crunchy chocolate cap. Though the recipe has remained largely unchanged, today’s version is made with 100% natural ingredients. Over the decades, it has become a cherished symbol of Swiss summertime, loved by generations for its playful design and refreshing taste. The most famous producer, Frisco, now makes around 8 million Rakete popsicles each year.

Voltaren, a popular medication known for its anti-inflammatory, antipyretic, and pain-relieving properties, contains the active ingredient diclofenac. The gel formulation was developed by Alfred Sallmann and Rudolph Pfister. This compound was patented by Ciba-Geigy in Basel—now Novartis—in 1966 and first licensed as a prescription medication under the name «Voltaren» in 1974. The name «Voltaren» cleverly combines «Volta» from Voltaplatz in Basel and «Ren» from the Rhine. Today, Voltaren is widely used and available in more than 140 countries around the globe.

In 1961, Swiss architect Fritz Haller and entrepreneur Paul Schärer developed the USM Haller modular fur- niture system, now a global design classic. With steel tubes connected by spherical joints, the system offers limitless configuration possibilities. Originally designed for office use, it gained worldwide recognition for its flexibility and minimalist elegance. USM was includ- ed in the permanent collection of the Museum of Modern Art (MoMA) in New York. Today, USM is found in homes, offices, libraries and museums representing Swiss functional design worldwide.

Switzerland was the first country in the world to commission a graphic designer, Roger Pfund, to design its passport. This strong emphasis on design reflects the Swiss view of design as an integral part of identity. The latest Swiss passport, designed by the creative agency RETINAA, continues this tradition. It features hidden UV elements and a visual narrative, symbolizing Switzerland’s rich landscapes and cultural heritage. In an interview, Carl Guilhon, co-founder of RETINAA, shares how the new passport design reimagines Swiss identity for the 21st century, inviting its holder to embark on a journey through Switzerland and beyond.

The Cloudboom Echo 3 from Swiss sports brand On is not only a high-performance running shoe, but also a small masterpiece of engineering. It combines several innovative technologies, such as the patented CloudTec cushioning system. This system is inspired by the skull of a woodpecker, which acts as a shock absorber.

Private collection, Switzerland
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This milking stool, crafted in the 18th century in a small village in the Swiss Alps, symbolizes the rural Switzerland that remained an agricultural society until the 19th century. The furniture of that era was primarily functional and robust, like this Swiss stone pine stool used for milking cows. It exemplifies the craftsmanship and practicality of Swiss rural life.

Courtesy Girsberger
girsberger.com

Courtesy Federal Office for Buildings
and Logistics
bbl.admin.ch

Private collection, Switzerland
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The Ulm Stool, designed by Max Bill together with Hans Gugelot and Paul Hildinger embodies the principles of Gute Form (Good Form) – a design philosophy that emphasizes simplicity, functionality, and time- less beauty. Designed for the Ulm School of Design, the stool can serve as a seat, shelf, or table. Max Bill, one of the most important figures in Swiss modernism, made a lasting mark on furniture design with this stool.

Private collection, Switzerland

Private collection, Switzerland

Private collection, Switzerland

Private collection, Switzerland

Courtesy Swisspearl
swisspearl.ch

Private collection, Switzerland
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Polish designer Oskar Zięta developed the Plopp stool using FiDU technology during his studies at ETH Zurich. This technology involves welding and then inflating metal sheets to create lightweight yet stable structures. The Plopp stool has won several design awards and represents the successful merging of art and technology. Zięta’s work illustrates how international exchange enriches Swiss design.

Courtesy Swisspearl
swisspearl.ch

Courtesy Moustache
moustache.fr

Courtesy teo jakob
teojakob.ch

Courtesy de Sede, Classic Living, Beijing
classicinternational.com.cn
desede.ch

Courtesy Lehni
lehni.ch

Private collection, Switzerland
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The stools by Andreas Kölbener and Ivo Allgöwer are rooted in traditional Swiss forestry practices. The wood used for these stools was harvested from remote forests during an ideal moon phase, following ancient rules. The stool displayed here, for example, was made from wood from the Lenggewäädli forest near Basel. Each stool is named after the location from which its stone and wood were sourced, symbolizing a deep connection to Swiss nature.

Courtesy PDM Brand
pdmbrand.com

Courtesy Hot Wire Extensions
hotwireextensions.com
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Hot Wire Extensions, a Swiss design studio, works with waste materials from the 3D printing industry, which are often overlooked. These materials are transformed into functional designs, including the stool on display here. The studio challenges the often unexamined environmental impact of 3D printing and offers sustainable alternatives in design.

Private collection, Switzerland
renauddefrancesco.ch

Private collection, Switzerland
livialauber.com

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich
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Regression and Progress
Max Bill’s poster for the 1931 exhibition of African art at the Zurich Museum of Arts and Crafts showcases not only its striking graphic design but also the backward-looking, racially charged term “Neger”. This term, which entered the German language in the 18th century in the context of emerging racial theories, was often considered neutral until after World War II, although its origins were deeply rooted in Eurocentric and racist ideologies. The classification of humanity into so- called races served to legitimize the supremacy of European colonial powers and justified the oppression, exploitation, and enslavement of people from other cultures and with different skin colors. Therefore, the term has always carried stereotypical and discriminatory connotations and is entirely inappropriate today.
The poster itself advertised a relatively progressive exhibition on the significance of African art for classical modernism, whose abstract forms of expression often served as sources of inspiration. It stands as an example of Bill’s radical design approach: the “O” from the “Wohnbedarf” logo, visible on the adjacent poster, is transformed here into a powerful visual element through a 90-degree rotation. This innovative, purely visual interpretation of the exhibition theme reflects a modern rigor and experimental spirit that was ahead of its time.

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich

Private collection, Switzerland

Private collection, Switzerland

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich

Private collection, China

Private collection, China

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich

Private collection, China

Courtesy Museum of Design,
Poster collection, ZHdK, Zurich /
© Max Bill, 2024, ProLitteris Zurich

Private collection, China