news

Design Days Geneva

We presented our new seley chair for the first time to a wide audience in Romandy at the Design Days event that took place at Pavillon Sicli in Geneva from 26 - 29 September. An ess.tee.tisch table was also on show, which ideally complements the seley chair, as well as a small “team” of our classics, positioned together around the podia table – waiting to be tried out.

The seley chair was also received very positively in the French-speaking part of Switzerland. The Swiss designer Frédéric Dedelley, who comes from Romandy himself, but has lived in Zurich for many years, succeeded in creating this design – a small, handy and extremely comfortable chair that fits perfectly in many situations and has a very elegant or young trendy appearance. We presented the seley chair in bright dazzling colours in Geneva. The many predominantly young visitors were delighted.

By the way, if you scroll down a bit on this page, you will find an interview with Frédéric Dedelley and further information on the seley chair.

Seating furniture for the present day

Hubertus Adam, art historian and architecture critic, in conversation with Frédéric Dedelley about his understanding of design and the collaboration with horgenglarus

 

How did you come into contact with horgenglarus?

As a Swiss designer, I’ve obviously known about the company for a long time. Years ago, I even sent a design proposal, but nothing came of it back then. What fascinates me most about horgenglarus is the mix of traditional craftsmanship and modern processing techniques, which I believe offers huge potential.

 

You were involved in the ‘Take a seat’ project. Between 2009 and 2015, Café Z am Park in Wiedikon, Zurich commissioned a total of 65 artists and designers to reinterpret – or rather transfigure – four horgenglarus ‘classics’. The chairs were created during the 1920s and, with their solid frames, are considered as the epitome of anonymous Swiss design today. After a few months of use, the reinterpreted chairs were auctioned.

‘Take a seat’ inspired me to take a closer look at the history of the company and the significance of the chairs in Swiss design history. Under the title of ‘Heimweh’ (‘Homesickness’), my reinterpretation of the chairs using ornamental sawing techniques aimed to remind people of the traditional sawn farmer’s chairs known as Stabelle chairs. I believed that without Stabelle chairs, there wouldn’t be any horgenglarus chairs in the first place.