Alfredo Häberli Design Development

I am truly touched to receive the «Finlands Lejons Orden». This honour is very meaningful to me, not only as a designer, but also as someone who has had the privilege of working with trailblazing Finnish companies and contributing, to a national design culture that I have always admired for its clarity, humanity and character. My sincere thanks go to the Finnish Embassy in Switzerland for this generous acknowledgement, as well as to the companies Nikari and Iittala, whose trust over the years has enabled products such as «April», «Origo» or «Essence» to become part of everyday life. A moment of celebration, but also a very personal milestone. Thank you, Finland!

You have to read this text: it made our hair stand on end with excitement. It was written by Alfredo Häberli, an Argentine designer based in Switzerland and one of the most influential voices in contemporary design. In the text, he tells us what it was really like to build a life in design, to set up a studio, to persevere when things did not work out, to make weighty decisions, and to stay long enough to see if something was worth it. If you are like us, we reckon you will see yourself in it as you read. Because much of it resonates with those of us who are trying to do a good job, build something of our own, and sustain it over time. That is why we like this text so much. It feels close to who we are and what we’re building together.

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To mark the 10th anniversary of the eyewear brand by Nirvan Javan, I developed a collaborative collection of five models that explore the relationship between typography, geometry and precision. The starting point for the project was my long-standing interest in eyewear as everyday objects. Few products are worn so consistently and are so closely linked to the individual. A pair of glasses is not only functional, but becomes part of the expression and presence of a person. For this collection, the design approach was inspired by the logic of typeface design. In typography, character often arises from subtle transitions: from thick to thin lines, between curves and edges, and between shapes and spaces. These principles have been applied to the frames, where small differences in proportions and line thickness give the five models a distinctive identity. The collection is based on five geometric starting points, each developed with careful attention to silhouette, nose bridge design and the integration of the hinge area. The aim was to create a family of eyewear with clear formal coherence, while giving each model its own personality, which can be associated with one of Zurich’s city districts. Technical development also played an important role. The frames were produced using 3d printing in combination with an innovative hinge solution, thereby combining contemporary production methods with a refined design language. Technology was not used as a visual statement in itself, but as a means to achieve clarity, comfort and precision. Designed and developed in Switzerland, the collection reflects a shared interest in observation, nuances and the cultural dimension of everyday objects, which also cuts a fashionable figure on the cosmopolitan stage.

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Twenty-five years after the launch of Essence, it is a pleasure to see this glass family continue to evolve with such lightness and clarity. The new pink stem introduces a subtle shift in character while preserving the balance that defined the original design from the beginning. Essence was conceived as a range of glasses reduced to the essential: simple, functional and elegant, with a calm presence on the table. The idea was always to create a family in which each glass feels individual, yet part of a coherent whole. The coloured stem now adds a new layer to this logic — a small but expressive gesture that brings warmth, joy and a certain festive spirit. What I like about this new version is that the colour does not overpower the object. It remains precise and controlled, while giving the glass a new emotional tone. In this way, Essence Pink celebrates both continuity and change: a familiar object, seen in a fresh light.

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From the very beginning, a distinct approach to Johann Jakob Meyer's oeuvre and the location of the Meilen Local History Museum became apparent. The work, the diversity of techniques and the wide range of the collection were to be displayed in a modern and contemporary manner, enabling a different perspective on the two-century-old craftsmanship. Floating and frameless, hung in different ways, the originals and reproductions of the artist are intended to sharpen the eye of the visitor, inviting them to linger – even encouraging them to rest. This is particularly important in an age of rapid viewing and constant photographic recording. The other level of design – that of architectural intervention – was achieved with clear wooden walls that deliberately accentuate the rooms of the local museum. The walls in the furnace room facing the lake are V-shaped, while those in the hall facing the mountain are Y-shaped. Both structures exhibit a duality: one side is structured and visually reminiscent of earlier kiosks and magazine stands, while the other side is smooth and museum-like. The spaces between the protected walls of the rooms and the installation create tension and allow the works to be viewed from both close up and from a distance. The existing museum walls remain explicitly empty. The colourful varnish on the exhibition walls seeks to surprise with its colourfulness – yet, thanks to its transparency and the wood grain shining through, it builds a bridge to the nature in which the drawings were created.

The central entrance room is dominated by enormous enlargements of reproduced details, in front of which the original picture is hung. This four-part ensemble forms the introduction to the exhibition, showing the richness of detail and the precision and meticulousness with which the paintings were created.

On the lower ground floor, a room within a room has been created in the vaulted cellar. It is the treasure trove of the exhibition and appears very opulent thanks to the colourfulness of the walls and floor. The hanging of the sketches and some of the unfinished works transports the modernity of Johann Jakob Meyer's oeuvre and his studio into the present day – or even into the future. This idea is continued in the photography of Joan Minder: with his sensitive and precise eye, the photographer has added an additional, contemporary layer to the exhibition – his progressive visual language invites visitors to perceive observation in a new way and to enter into contemplation with the exhibition. This effect is particularly evident in the vaulted cellar; the tranquillity that defines the room, further emphasised by the temporary felt flooring, creates an atmosphere of concentration. Just as it perhaps was when drawing nature in nature: observing, seeing – and letting your thoughts run free. Seeing in order to understand.

Photography: Joan Minder

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There are fabrics that do more than simply cover a seat or shape a garment. They tell stories, evoke decades, and leave behind an impression that is both tactile and emotional. The Pascha fabric, with its distinctive graphic pattern of black and white squares in hypnotic movement, is one of those textiles. Originally introduced in the interiors of iconic Porsche models of the 1970s and 1980s – including the 924, 928, 944 and the classic G-Model – the Pascha design was bold, eccentric and unmistakably ahead of its time. It captured the spirit of an era in which form and function dared to flirt with the surreal. I was invited to revisit this fabric and reimagine it in a new context. The result is a tote bag that feels both familiar and fresh. It carries the memory of vintage Porsche interiors while functioning as a contemporary everyday object – practical, tactile and quietly expressive. The design is deliberately simple, allowing the fabric to speak. Two colorways – dark blue with black or classic white and black – reflect both nostalgia and clarity. The bag becomes a subtle tribute to movement, rhythm and identity – to the idea that design is not bound to time or to function, but can travel with us, be carried, and continue to evolve. A piece of automotive history – now wearable and available in a limited edition, exclusively through Porsche Zentrum Zürich.

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The Pavillon Le Corbusier in Zurich is a place I have returned to for many years. As the architect’s final building, and the only one built entirely in steel and glass, it holds a unique position in his oeuvre – a precise yet poetic structure, defined by colour, geometry and light. For me, it is a space of stillness and clarity, just a few steps away from my studio. The short film The Visitor was filmed on site in early 2025. It documents not only my physical movement through the Pavillon, but also my way of observing – how architecture, materiality and proportion resonate with my own practice as a designer. The film highlights the spatial rhythm of Le Corbusier’s architecture and how it invites reflection and presence. Filmmaker Joan Minder approached the project with a photographic eye and a strong sensitivity for atmosphere. The result is a quiet meditation on space, time and perception – and a thoughtful record of a personal connection to one of Zurichs most inspiring buildings. Thank you to Joan for this collaboration and congratulations on a beautiful and personal film.

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For the latest edition of Transhelvetica focused on «Argentina», I was privileged to design the accompanying graphics for a poster, postcard, and wine label. These pieces are characterized by a hand-drawn, continuous line that deeply resonates with my childhood memories and my experiences growing up in Argentina. This line represents not just artistic expression but also the profound cultural and personal influences that have shaped me.

This enduring line was inspired by lessons from my grandfather and my uncle, an architect, who introduced me to the art of free and precise line drawing at an early age. These experiences ingrained in me a deep appreciation for the fusion of precision and creativity, which is evident in the design elements I chose for this project.

The artwork titled «Las líneas de mi mano» is a tribute to the rich cultural tapestry of Argentina, interweaving elements from the emotional depth of Tango to the culinary traditions of Asado. It invites viewers on a visual journey through Argentina, encouraging them to explore the layers and meanings embedded in each line.

This design endeavor for Transhelvetica is more than a commission; it is a celebration of my heritage and a testament to the enduring influence of Argentine culture on my work as a designer. Through «Las líneas de mi mano», I aim to convey the intricate blend of history and modernity that characterizes Argentine art and life, making it a journey of discovery for every viewer.

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In the year 2021, I had the opportunity to design the entire 25 Hours Hotel Zurich West, narrating a multidimensional story of my hometown. This resulted in «The Smile of my Hometown», a city guide featuring a variety of objects and art. In this additional project, the existing concept is being expanded to include the theme of sports. Naturally, Zurich, like probably every city in the world, has a connection to sports with the Leichtathletik-Meeting, Limmatschwimmen, Ironman, etc. However, this design concept is about much more; it's about the world of sports and the fascination behind it.

The idea behind the interior design of the lobby is to evoke a variety of emotions with minimal intervention into the existing space. The design retains the industrial charm of the raw space, highlighted by shades of grey, black, and metallic. Natural wood and leather add warmth and coziness to the room. Visitors should feel welcomed and comfortable. The aesthetics of sports are employed subtly and are not obvious or clumsy; nor are they mere props from thrift stores meant for collection. Instead, the aim, as it was ten years ago, is to use the theme as a starting point and to design with humor, elegance, and intelligence. I want to discover and create new things. The twist is crucial, as is the wink. The goal was to use the same high-quality materials to complement and extend the existing construction.

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Häberli’s work embodies a harmonious blend of playful elegance and pragmatic functionality, elevating a mere sketch into a timeless design statement. Yet, beneath this effortless grace lies a relentless dedication to perfection. Häberli, despite his amiable demeanor, is a consummate perfectionist, driven by an unyielding commitment to excellence. His path to prominence began with a transformative sojourn to Milan, where he was captivated by the enchanting world of design. It was there that he resolved to carve his niche in this creative realm, a decision that ultimately led to the establishment of his eponymous studio, Alfredo Häberli Design Development, in 1991. Since then, Häberli has left an indelible mark on the design landscape, crafting a myriad of innovative products, orchestrating captivating interior compositions, and curating thought-provoking exhibitions.

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From the very first thoughts and initial sketches, the Time-project, as the name suggests, focused on time and its relative perception. The aim was to go from a two-dimensional material that is as thin as possible to a third dimension by simply folding it – like the way a sheet of paper, cardboard or plywood is folded. Soft bends and organic contours define the design. Since 2017, countless models and the empirical search for ergonomic solutions have guided the project. Another aspect of the Time-factor was the transfer of this idea to different typologies: a chair, an armchair, a lounger. We will work on further variations in the course of Time.

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When the furniture fair was canceled during the pandemic in 2020, it presented an unexpected pause in my usually hectic agenda. This downtime became an opportunity for reflection and creativity, allowing me to put pen to paper and chronicle my early days in Milan. It was a chance to document my journey into the world of design, a path marked by encounters and experiences that have defined my career.

In the first volume of this two-part-book, I dive into my life in design, reflecting on pivotal moments and influential places. I discuss my interactions with Italian design maestros, the influence of English and American icons, and my enriching exchanges with design contemporaries like Konstantin Grcic, Jasper Morrison, and Patricia Urquiola. This volume also explores my meetings with visionary entrepreneurs and the objects and spaces that have sculpted my design ethos. The second volume turns a more personal corner, where I have asked thirty personalities from my network to pose one burning question each. Responding with a blend of humor and sincerity, I share insights that offer a deeper understanding of my design philosophy. This dialogue includes questions from notable designers, thinkers, architects, and journalists such as Tyler Brûlé, Hans Ulrich Obrist, Chantal Hamaide, and Max Küng, offering a comprehensive look into the minds shaping our design world. This narrative is not just a recount of my experiences but an invitation to explore the intricacies of design through my eyes, during a period that allowed for introspection and renewed creativity.

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The idea of the sofa Afuera was to design an extraordinary, comfortable, modular and very spacious sofa for outdoor use. The seating comfort should reach the quality of an indoor sofa. That sounds simple, but the outdoor challenge always comes with an additional handicap. We are talking about the weather: extreme temperatures of heat and cold, sun and UV radiation, humidity and moisture. In many countries, salt water is added to the mix, putting outdoor furniture to the test. The sofa Afuera consists of several upholstered elements. A wooden construction of crosswise runners and two longitudinal struts are made of weather-resistant iroko wood, on which the generously upholstered elements seem to float. Together with the versatile, complementary table elements, the sofa Afuera looks elegant, spacious, almost luxurious. A range of new wood colour pigments makes the sofa Afuera appear fresh, naughty, traditional or classy. On closer inspection, the unconventional seams stand out, deliberately contrasting with the upholstery and drawing their own endless lines.

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When it comes to golf, less is more. At least that is the opinion of the founders of Golfyr, a start-up from St.Gallen (Switzerland) that is revolutionising the sport of golf with a carbon golf set and only seven golf clubs. They want to break away from the status quo and radically rethink golf, and so we together analysed the game from the bottom up with the vision «Rethink Golf». Carbon was the only material that was suitable for the realisation of the clubs and made the reduction from 14 to 7 golf clubs possible. The #sevenclubgame was born. A comprehensive collaboration resulted in an distinctive set that combines functionality and aesthetics in a unique way, opening up a new era in golf. Players can not only perform at the highest technological level, but also express their lifestyle through exclusive design. Are you ready to rethink golf?

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The redesign of an apartment building at Zeltweg in Zurich presented an intriguing challenge: integrating fully functional kitchens and comfortable bathrooms into the compact layouts of approximately three dozen units, all while maintaining the original water connection points.

Our solution was both efficient and elegant. Each unit features a «box within a room» concept, where a single door in the kitchen discreetly leads to the bathroom behind it. The bathrooms, finished entirely in a monochromatic, water-repellent coating, are strikingly minimal yet functional. This seamless design maximizes space while providing a sense of cohesion and modernity.

Adding a touch of luxury, the kitchen work surfaces and backsplash are crafted from the exceptional «Verde Maritaca» stone, lending a unique vibrancy and depth to the compact spaces. This project exemplifies how thoughtful design can transform spatial constraints into opportunities, creating harmonious and sophisticated living environments.

This project was realised with Matthias Kamm Architecture.

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My aim is to achieve as much as possible with as little as possible, either through the chosen topic or through the material used, the lines drawn or the surfaces set. This is where I recognise the incredibly close and similar parallels to the Porsche 356SC: large and beautifully shaped surfaces, separated only by a few joints, form an overall sculptural shape that is reduced to a breathtaking silhouette. With my intervention I emphasise and underline this aesthetic. My artwork is a modern and contemporary addition that celebrates the bodywork art of the Porsche 356SC as sculpture and transfers it into today. It is an added value that makes this vehicle unique on the road or in the collection. Subtle yet very deliberate are the hand-applied colour surfaces, which become increasingly refined, elegant and timeless after longer observation. The choice of a very light, pastel-like colouring means that the differently painted areas of colour almost disappear when viewed from a distance. However, as you get closer, they become more and more evident, and when you look even closer, even the brushstrokes become visible. The colour, consciously applied by hand in different directions, caresses and flatters the form and emphasises the individual body parts, which are thus complemented and included. The basic form of the vehicle design becomes more visible and more consciously observed – we look even more closely.

To learn more about the project, please follow this interview in German.

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