The Rediscovery of the Haussmanns’ Work
One of the highlights of the last Zurich Design Week was the 'wieder spiegeln' (Reflect Again) installation at the Söder store in Zurich Central Station, which showcased the Trix & Robert Haussmann Collection. Eight round mirrors were arranged in a circle around the 'Stripes' carpet, a 1984 design by Trix (*1933) and Robert Haussmann (1931–2021). When placed on a pedestal, the carpet's black-and-white pattern unfolded, reminiscent of a folded cloth.
The reissue of the iconic carpet marks the beginning of a series of projects aimed at bringing the work of the Zurich-based architect and designer duo into the present day. Trix Haussmann has transferred the licensing and copyright to Christof Hindermann, the designer and founder of Bureau Hindermann, and Tobias Maurer, a scenographer. Edition H, a publishing house founded specifically for this purpose, aims to preserve and catalogue the Haussmann oeuvre, opening it up to new productions and collaborations.
Christof Hindermann, where does your fascination with the work of the Haussmanns come from?
Christof Hindermann: My father worked for Trix and Robert Haussmann at their studio, Allgemeine Entwurfsanstalt Zürich. As an upholsterer, he was responsible for upholstering the famous Kronenhallen bar stools and benches from 1965, as well as the armchairs for the DB Lounge from 1995. I therefore came into contact with the Haussmanns' work at an early age. Needless to say, completing my first internship at their office had a huge impact on me.
What fascinated you at the start of your career, and how did this influence your work?
Above all, it was the way in which an idea or draft was developed here. The pair maintained momentum – in a playful yet self-critical manner – until they achieved their desired outcome. I also found their use of language and linguistic imagery impressive and inspiring. Visual arts and artists were also constant companions in the everyday life of Trix and Robert Haussmann, as reflected in their work.
Humour and a certain irony are central to my work, my methods and my everyday life. In my profession, I often feel that authors take themselves much more seriously than their work.
Which aspect of Haussmann's work do you particularly appreciate?
Their work plays with our perception, surprising and challenging our senses. They use trompe l'oeil effects and rely on experimentation and illusionism. The two have always worked together as equals, and over six decades they have created an unparalleled body of work. Their works also captivate viewers with their technical sophistication and high-quality materials.
The Haussmanns coined the term ‘critical mannerism’ for their work. What does this mean?
The term ‘Manierismo critico’ describes Trix and Robert's approach. It is a reinterpretation of the historical Mannerist style in which modern paradigms, such as the relationship between form and function (with function following form instead of form following function), are deconstructed in a playful and humorous manner. To me, this means critically examining the design dogmas of the respective era. However, this critique does not take a moralising tone; rather, it is expressed through thoughtful and subversive design examples. In the case of Trix and Robert Haussmann, this resulted in the series ‘Lehrstücke’ (Teaching Pieces), which embodies this philosophy through playful yet thoughtful objects. A few years ago, Matthias Kappeler produced a short film that encapsulates this well.
Does your own work reflect this approach?
For me, a central element of this is ‘playful seriousness’, whereby tradition is not merely copied, but reinterpreted. Another important aspect is examining materiality and its effect on objects and space. In particular, mirrors and their various qualities are defining elements that are also reflected in our own work.
How does this style differ from postmodernism?
In my opinion, postmodernism differs from ‘Manierismo Critico’ in that it often lacks critical reflection on the status quo. While it can be exciting in terms of form, it is empty in terms of content – in a sense, it is uncritical mannerism. Or, more bluntly: form follows finance.
What appeals to you about reviving these historical designs today?
Unfortunately, the Haussmann's designs are only known to a small circle of connoisseurs. While they enjoy iconic status in Switzerland, their work has yet to receive the international recognition it deserves. We would like to help raise their profile.
One would assume it's a huge collection?
Yes, Trix and I often sat down together to review the work. It was clear that we wanted to do more than just preserve the designs; we also wanted to adapt them for the present day, which was a real balancing act.
60 years of design history – how many objects are we talking about, approximately?
There are already more than 100 realised design objects, including seating furniture, lamps, tables and textiles. In addition to these, there are many more designs that have not yet been implemented.
How were the first objects selected for Edition H?
First, we selected the ‘Stripes’ and ‘Dégradé’ carpets, designed by the Haussmanns in 1990. The iconic ‘Stripes’ carpet, with its draped design, was inspired by a delicately flowing black-and-white striped silk chiffon scarf. After researching Swiss carpet manufacturers, we decided that Ruckstuhl, one of the oldest in Switzerland, was the right choice. We were also impressed by their technical innovations and rich cultural heritage.
In which parts of the new edition did you deliberately add modern touches?
This new edition looks back at design history and forward to the future. It is the world's first carpet collection whose top layer is made up of 60% recycled wool. This wool is made from discarded clothing that has been processed into yarn. The carpets also come with a digital product passport. This contains detailed information about the product and its entire life cycle, from manufacture to disposal. In our case, NFT technology is also used to guarantee that the carpet is an original by Trix and Robert Haussmann.
When can we expect to see more designs from the Haussmann archive?
We're already working on it. We're designing new chairs for the Kronenhallen Bar in Zurich, for the use of Michelin-starred chef Andreas Caminada. They will be made using specific materials and feature a small signature to promise exclusivity.
Will designs that have not yet been produced come to life? How can the spirit of Haussmann be preserved in their implementation? In other words, what constitutes a Haussmann building?
Yes, all three ‘Atlantis’ designs from the new Trix & Robert Haussmann Collection by carpet manufacturer Ruckstuhl are unique creations. Regular communication with Trix Haussmann is essential to ensure the designs meet her expectations. I greatly appreciate these personal meetings as they allow me to check that I am acting in line with her intentions and spirit. For example, this applies to adapting designs to today's standards and manufacturing techniques, and deciding which works should be reissued and in what form. It was particularly gratifying to see that we had captured the inventor's spirit entirely with the ‘Spacegrid Edition 2025’ tapestry with mirror inlays, designed by Bureau Hindermann. At least, that was Trix Haussmann's reaction when she saw this piece and the accompanying installation, ‘Wieder Spiegeln’ (Reflect Again), at Zurich Central Station.
Your sparring partner is Tobias Maurer. What perspective does he bring to Edition H?
Our paths crossing was no coincidence. In the summer of 2022, Tobias Maurer applied to Bureau Hindermann for the role of project manager on a scenography project. I was impressed by the eloquence of his application letter, his warm manner, and his curious way of questioning things, as well as his enthusiasm for new ideas. During our first meeting, when he asked me about my internship with Trix and Robert Haussmann, I was surprised that someone more than twenty years my junior even knew who they were. Conversely, I immediately recognised that he had studied Swiss design culture intensively. I was therefore able to persuade Tobias to work on the Edition H concept alongside his master's degree in Copenhagen — the beginning of our collaboration. Working in a team has always been important to me. With Tobias, we have someone involved in the project who is approaching this great work by Trix and Robert Haussmann with an open mind. It is, of course, important to find out how the next generation interprets this work and what contemporary references they make to it.
