{"title":"Art rugs","description":"","products":[{"product_id":"dessous-dessous-dessous","title":"Above Above Below","description":"\u003cp class=\"Text\" style=\"line-height: 140%; tab-stops: 35.45pt 70.85pt 106.3pt 5.0cm 177.15pt 212.6pt 248.05pt 283.45pt 318.9pt 354.35pt 389.75pt 425.2pt 460.65pt;\"\u003e\u003cspan lang=\"DE\"\u003eIn the early days of modernity, and even in the middle of the 20th century, they still existed: universal architect-designers who literally designed everything from the coffee spoon to the large building that demanded design. Those times are — in view of increasing specialization and differentiation, which has long since also affected the field of design — irretrievably over.\u003cbr\u003e\u003cbr\u003eWhen Aurel Aebi, Armand Louis, and Patrick Reymond joined forces 19 years ago to form Atelier Oï, they relied from the start on teamwork and an inter- and transdisciplinary approach to tackle diverse design tasks. Success has proven them right. The office, based in the small town of La Neuveville located between Biel and Neuchâtel, has grown over the years to around 25 employees (architects, designers, graphic artists) who handle an impressive variety of projects in architecture, interior architecture, scenography, and design at the highest professional level. Among Atelier Oï’s clients, to name just the most important, are companies such as the Swatch Group, B\u0026B Italia, Foscarini, Louis Vuitton, Ikea, Wogg, and Roethlisberger.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Text\" style=\"line-height: 140%; tab-stops: 35.45pt 70.85pt 106.3pt 5.0cm 177.15pt 212.6pt 248.05pt 283.45pt 318.9pt 354.35pt 389.75pt 425.2pt 460.65pt;\"\u003e\u003cspan lang=\"DE\"\u003eA fundamental basis for the work of Atelier Oï is the intensive engagement with a material or a specific construction method, which initially takes place in the office’s own workshop through the building of models and prototypes. The experiences gained in this often lengthy process, characterized by numerous experiments, usually enrich several, in principle independent projects. Ideally, it is possible to revisit, transform, and further develop individual formal elements or construction ideas over time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Text\" style=\"line-height: 140%; tab-stops: 35.45pt 70.85pt 106.3pt 5.0cm 177.15pt 212.6pt 248.05pt 283.45pt 318.9pt 354.35pt 389.75pt 425.2pt 460.65pt;\"\u003e\u003cspan lang=\"DE\"\u003eAtelier Oï explicitly understands its collaborative creation as a large continuum. Accordingly, its own material and project archive is carefully maintained and constantly consulted. Individual works do not stand isolated but are meant to be understood as links in a chain. The continuation of a theme, even across disciplinary boundaries and often involving a change of scale, has by now become almost a trademark of the office. Indeed, this working method repeatedly leads to surprising and convincing synergies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Text\" style=\"line-height: 140%; tab-stops: 35.45pt 70.85pt 106.3pt 5.0cm 177.15pt 212.6pt 248.05pt 283.45pt 318.9pt 354.35pt 389.75pt 425.2pt 460.65pt;\"\u003e\u003cspan lang=\"DE\"\u003eHow a project at Atelier Oï can arise from a previous one is also demonstrated by their rug designs for the Edition Ruckstuhl. For example, the rug \u003cspan style=\"text-decoration: underline;\"\u003eDessus Dessus Dessous\u003c\/span\u003e, braided from linen bands, is based on a textile installation titled “Plier - Entrelacer - Superposer” (Fold, Braid, Overlap), which Atelier Oï realized at the invitation of Ruckstuhl on the occasion of Designers Saturday 2008 in Langenthal. The starting material for this work, which was nominated for the Design Prize Switzerland 2009, consisted of the linen bands usually used as borders in the finishing of rugs. The transformation from the experimentally oriented exhibition installation to an edition product involved both a technical refinement and a graphical enhancement of the design.\u003cbr\u003e\u003cbr\u003eRug braided by hand from linen bands\u003cbr\u003eMaterial: felt, linen bands\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"DE\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Text\" style=\"line-height: 140%; tab-stops: 35.45pt 70.85pt 106.3pt 5.0cm 177.15pt 212.6pt 248.05pt 283.45pt 318.9pt 354.35pt 389.75pt 425.2pt 460.65pt;\"\u003e \u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 210 x 355 cm","offer_id":54502645596489,"sku":null,"price":13182.24,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Dessus-Dessus-Dessous-Interior.jpg?v=1784202988"},{"product_id":"dessus-dessus-dessous-kopie","title":"Venezia by Ursula Spicher-Waldburger","description":"\u003cp\u003eEmbroidery is indeed an ancient and traditional textile technique, but its significance within the textile industry and thus also within textile design has greatly diminished since the beginning of the 20th century. This development is impressively reflected in the decline of the once world-famous St. Galler embroidery industry. Today, embroidery practically only holds some relevance in the areas of high-end lingerie and haute couture. Apart from that, it carries the unflattering image of being old-fashioned, grandmotherly, and a hobbyist domestic craft. Designer Ursula Spicher-Waldburger believes this is unjust. When applied in a novel way, embroidery is indeed a contemporary textile technique with great potential. Her own creative work, which she pursues with remarkable passion, provides proof of this.\u003c\/p\u003e\n\u003cp\u003eBefore Ursula Spicher-Waldburger discovered embroidery as her focus, a period of maturation was needed—biographically speaking. After several semesters of studying architecture at EPF in Lausanne, she initially retreated into private life for around ten years and engaged in fine art. Color-space paintings painted with oil tempera, created without commission or professional intentions, were well received and could have enabled an artistic career. But in 1997, she decided to attend the preparatory design course at the Zurich University of the Arts. There, Spicher-Waldburger subsequently completed the four-year training to become a textile designer. Soon, embroidery came into the focus of her interest—as a niche and as a field where entrenched traditions practically challenged one to dare something new.\u003c\/p\u003e\n\u003cp\u003eOf course, in the field of machine-operated embroidery, computers have long since become standard. This technology is the indispensable basis for any new design solution. From the beginning, Spicher-Waldburger’s concern and ambition was to artistically explore the limits of the computer-controlled embroidery machine and its software, breaking the boundaries of the usual. To translate the images she envisioned into embroidery, she consistently used the digital vocabulary. Accordingly, the pixel, the basic building block of every digital image, also underlies her mostly expansive creations. During her research for a new embroidery visual language, Spicher-Waldburger received support from Bischoff Textil AG in St. Gallen while working on her diploma. The renowned embroidery company provided the aspiring designer with know-how and technology for her project. The result of this creative research soon formed the basis for the project \"Pixelstick,\" also realized in cooperation with Bischoff, which was nominated for the Design Preis Schweiz 2003 and first made Spicher-Waldburger’s embroidery known to a wider public. Encouraged by this success, the designer founded her business \"Pieks! – Fabric Shop and Studio for Textile Design\" in Lucerne in 2004. Here she sells her own embroidery products and what she calls \"textile delicacies.\"\u003cspan lang=\"DE\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"DE\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Text\" style=\"line-height: 140%; tab-stops: 35.45pt 70.85pt 106.3pt 5.0cm 177.15pt 212.6pt 248.05pt 283.45pt 318.9pt 354.35pt 389.75pt 425.2pt 460.65pt;\"\u003e \u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 310 x 377 cm","offer_id":54865069506889,"sku":null,"price":17113.79,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Venezia-Soussol.jpg?v=1784205873"},{"product_id":"venezia-kopie","title":"Red Flower by Céline Sorigue","description":"\u003cp\u003eThese are the very first addresses of the Parisian fashion world – names like Chanel, Dior, Givenchy, Balmain, or Galliano – that belong to the exclusive clientele of the Atelier Alexandre et Céline, artistically led by Céline Sorigue. And the unique fabric creations produced there are used only in the Haute Couture collections, the most exclusive lines of these houses. The Atelier Alexandre et Céline thus belongs to the small group of highly specialized, artistically and craft-wise textile companies that, although largely invisible to the public behind the scenes of the Haute Couture houses, establish the special status of the fashion city Paris. At the absolute top of the international fashion pyramid, where Céline Sorigue works today, the air is thin. To get there, assuming a solid education, special inventiveness, tenacity, and assertiveness are required. Céline Sorigue possesses all of this, yet her path to the top was not entirely straightforward.\u003c\/p\u003e\n\u003cp\u003eIt was during a two-year stay in Los Angeles in the mid-1980s that her passion for design, or as she puts it, for decoration, was awakened. Half out of curiosity, half to earn some money, she worked at that time in the scenography department of a large Hollywood studio. Soon she was able to take on smaller creative tasks there as well. Back in Paris, she completed training as a fashion designer between 1986 and 1989 at the traditional ESMOD (École Supérieure des Arts et techniques de la Mode). A year at Saint Roch, as the École de la Chambre Syndicale de la Couture Parisienne, which is dedicated specifically to training young talent for Haute Couture, is called in fashion circles, rounded off her apprenticeship. While still a student, she founded an event agency with friends, mainly active in advertising, where she was responsible for sets and costumes for several years. In 1991, she then took the step into self-employment. She founded the label Joli tambour, which produced clothing for infants and toddlers. Comfortable, practical, and still pretty to look at – that was the program of this quite successful brand positioned in the upper price segment, where Sorigue took on design and management in one person. However, when it was not possible to resolve the conflict between her own perfectionist demands and the price constraints of the market, Sorigue stopped working on the project after four years.\u003c\/p\u003e\n\u003cp\u003eAn established workshop for silk dyeing and printing, originally operated by the parents of Sorigue’s partner Alexandre Leu and already among the suppliers of important fashion houses, formed the basis for the founding of Atelier Alexandre et Céline in 1994.\u003c\/p\u003e\n\u003cp\u003eHere, Sorigue has devoted herself entirely to creating exclusive fabrics for Haute Couture. Besides working with colors and patterns, her interest focuses especially on developing novel textures. In fact, her atelier is an experimentally designed laboratory where fabrics are given a special quality, a peculiar life. For this purpose, textiles are treated, manipulated, and sometimes even handled in every conceivable way, sometimes chemically, sometimes mechanically. Silk remains an important raw material; for a long time, the atelier has also worked with other fabric qualities as well as with non-textile materials.\u003c\/p\u003e\n\u003cp\u003eSorigue understands Haute Couture as a fascinating field of activity in which she is repeatedly faced with new creative challenges. However, the longer she works in the fashion world, the more she laments the hectic pace and short-lived nature of this industry, which hardly allows for long-term developments. For a few years now, she has therefore been trying to build a second pillar in the world of Haute Décoration, where unusual, sophisticated textiles also have a place. Initial projects with renowned interior designers and stars of the scene such as Philippe Starck have been successful. Against this background, the collaboration with Ruckstuhl within the framework of the edition for Céline Sorigue is a welcome opportunity to step out from behind the scenes of Haute Couture and to profile herself artistically in a new field.\u003c\/p\u003e\n\u003cp\u003eFor her rugs Red Flower and Golden Stripes, she chose felt as a deliberately simple base material. The powerful designs she applies to it and permanently protects with a transparent synthetic resin coating enhance the plain floor covering into a jewel all the more effectively. For Sorigue, the appeal of her designs for Ruckstuhl lies not least in the combination of traditional craftsmanship and high-tech processes. The formal references to Art Déco and the lacquer work so popular in that era can certainly be interpreted as a tribute to a great epoch of Parisian applied arts.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 180 x 270 cm","offer_id":54865318740297,"sku":null,"price":11914.9,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Red_Flower01.jpg?v=1784308416"},{"product_id":"golden-stripes","title":"Golden Stripes by Céline Sorigue","description":"\u003cp\u003eThese are the very first addresses of the Parisian fashion world – names like Chanel, Dior, Givenchy, Balmain, or Galliano – that belong to the exclusive clientele of the Atelier Alexandre et Céline, artistically led by Céline Sorigue. And the unique fabric creations produced there are used only in the Haute Couture collections, the most exclusive lines of these houses. The Atelier Alexandre et Céline thus belongs to the small group of highly specialized, artistically and craft-wise textile companies that, although largely invisible to the public behind the scenes of the Haute Couture houses, establish the special status of the fashion city Paris. At the absolute top of the international fashion pyramid, where Céline Sorigue works today, the air is thin. To get there, assuming a solid education, special inventiveness, tenacity, and assertiveness are required. Céline Sorigue possesses all of this, yet her path to the top was not entirely straightforward.\u003c\/p\u003e\n\u003cp\u003eIt was during a two-year stay in Los Angeles in the mid-1980s that her passion for design, or as she puts it, for decoration, was awakened. Half out of curiosity, half to earn some money, she worked at that time in the scenography department of a large Hollywood studio. Soon she was able to take on smaller creative tasks there as well. Back in Paris, she completed training as a fashion designer between 1986 and 1989 at the traditional ESMOD (École Supérieure des Arts et techniques de la Mode). A year at Saint Roch, as the École de la Chambre Syndicale de la Couture Parisienne, which is dedicated specifically to training young talent for Haute Couture, is called in fashion circles, rounded off her apprenticeship. While still a student, she founded an event agency with friends, mainly active in advertising, where she was responsible for sets and costumes for several years. In 1991, she then took the step into self-employment. She founded the label Joli tambour, which produced clothing for infants and toddlers. Comfortable, practical, and still pretty to look at – that was the program of this quite successful brand positioned in the upper price segment, where Sorigue took on design and management in one person. However, when it was not possible to resolve the conflict between her own perfectionist demands and the price constraints of the market, Sorigue stopped working on the project after four years.\u003c\/p\u003e\n\u003cp\u003eAn established workshop for silk dyeing and printing, originally operated by the parents of Sorigue’s partner Alexandre Leu and already among the suppliers of important fashion houses, formed the basis for the founding of Atelier Alexandre et Céline in 1994.\u003c\/p\u003e\n\u003cp\u003eHere, Sorigue has devoted herself entirely to creating exclusive fabrics for Haute Couture. Besides working with colors and patterns, her interest focuses especially on developing novel textures. In fact, her atelier is an experimentally designed laboratory where fabrics are given a special quality, a peculiar life. For this purpose, textiles are treated, manipulated, and sometimes even handled in every conceivable way, sometimes chemically, sometimes mechanically. Silk remains an important raw material; for a long time, the atelier has also worked with other fabric qualities as well as with non-textile materials.\u003c\/p\u003e\n\u003cp\u003eSorigue understands Haute Couture as a fascinating field of activity in which she is repeatedly faced with new creative challenges. However, the longer she works in the fashion world, the more she laments the hectic pace and short-lived nature of this industry, which hardly allows for long-term developments. For a few years now, she has therefore been trying to build a second pillar in the world of Haute Décoration, where unusual, sophisticated textiles also have a place. Initial projects with renowned interior designers and stars of the scene such as Philippe Starck have been successful. Against this background, the collaboration with Ruckstuhl within the framework of the edition for Céline Sorigue is a welcome opportunity to step out from behind the scenes of Haute Couture and to profile herself artistically in a new field.\u003c\/p\u003e\n\u003cp\u003eFor her rugs Red Flower and Golden Stripes, she chose felt as a deliberately simple base material. The powerful designs she applies to it and permanently protects with a transparent synthetic resin coating enhance the plain floor covering into a jewel all the more effectively. For Sorigue, the appeal of her designs for Ruckstuhl lies not least in the combination of traditional craftsmanship and high-tech processes. The formal references to Art Déco and the lacquer work so popular in that era can certainly be interpreted as a tribute to a great epoch of Parisian applied arts.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 180 x 270 cm","offer_id":54865412456777,"sku":null,"price":11914.9,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Golden-Stripes-Haus-1.jpg?v=1784208977"},{"product_id":"night-sky","title":"Night Sky by Deborah Moss","description":"\u003cp\u003eThe Toronto-based company Moss \u0026 Lam – Costum Art Studio, founded in 1987, is a commercial-artistic enterprise specializing in commissioned art, offering services that include both creative design and practical execution. Their clients are typically architects or interior designers seeking visual enrichment and artistic enhancement for specific projects, often located in semi-public spaces such as hotel lobbies, restaurants, department stores, boutiques, and similar venues. Moss \u0026 Lam’s works are always large-scale and usually wall-mounted. Occasionally, they are also commissioned to create spatial installations, such as mobiles. To meet the clients’ ideas and wishes, the company employs a team of around 15 permanent staff—artists, craftsmen, and technicians—capable of realizing even complex and technically demanding projects. Years of accumulated know-how enable the competent processing and handling of a wide variety of materials in their in-house workshop. In addition to plaster, paint, ceramics, and glass, wood, leather, and textile materials are also used. Geographically, Moss \u0026 Lam’s projects are spread across North America—Canada and the USA—as well as Asia. In recent years, numerous commissions have been acquired especially in Japan, South Korea, Taiwan, Singapore, and China.\u003c\/p\u003e\n\u003cp\u003eDeborah Moss, who founded the company together with her life and work partner Edward Lam and has led it ever since, serves as the Art Director and is the creative mind behind the firm. After studying art history at the University of Toronto, she soon turned to artistic practice. She therefore transferred to the Ontario College of Art, where she completed an artistic education focusing on painting and film. Together with Edward Lam, who also studied at this school, she immediately took the step into self-employment.\u003c\/p\u003e\n\u003cp\u003eDeborah Moss sees herself as an artist who uses her formally and stylistically broad design vocabulary to beautify spaces. Her applied art, in the best sense of the word, is intended to meet less functional and more decorative-atmospheric demands. Constant engagement with artworks from all times and cultures, alongside her own free artistic production (watercolor paintings, which she has only recently begun to present publicly), forms the most important source of inspiration for her commissioned art. The focus of her artistic research lies in formal qualities such as surface textures, samples, and ornaments.\u003c\/p\u003e\n\u003cp\u003eNight Sky, Deborah Moss’s contribution to the Edition Ruckstuhl, is by far the smallest rug in this collection. Even its dimensions emphasize the intimate character of the design, which convinces with its poetic impression. The delicate colour gradients on the hand-painted felt convincingly depict the view into the infinitely vast night sky. Sewn-on crystal stones create a striking contrast to the simplicity of the base material and at the same time give the rug a touch of luxury.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rund \/ Ø 152 cm","offer_id":54865547657545,"sku":null,"price":13043.48,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Night-Sky-Haus-2.jpg?v=1784211681"},{"product_id":"frisian-woouw","title":"Frisian Wouw by Claudy Jongstra","description":"\u003cp\u003ePerhaps the greatest achievement of the Dutch textile artist Claudy Jongstra is her convincing contemporary and modern interpretation of felt, a material that is millennia old but often perceived by many as old-fashioned or backward. It was for this reason that she received the significant and highly endowed Prins Bernhard Cultuurfonds Prize for applied art and architecture in her homeland in 2008. Jongstra’s engagement with felt, which soon became her life’s theme, began in 1994 when she saw a traditional Mongolian felt yurt at the Dutch Textile Museum in Tilburg. At that time, she was already well established in the textile world. She had studied fashion design at the art academy in Utrecht, then tried to establish her own clothing label, and finally worked for several years as an employed designer for a larger fashion company. For the designer disillusioned by the fashion world, the encounter with felt was like a revelation. Deeply impressed by the structure and colorfulness of the seemingly simple material, she decided to explore its creative potential more closely.\u003c\/p\u003e\n\u003cp\u003eIn evening courses, she learned to make felt herself from sheep’s wool, water, and soap through friction. Soon she began experimenting with the material, initially without a concrete goal in mind. Experts from the Dutch Textile Museum, to whom she showed samples, encouraged her to continue her work and motivated her to make further efforts. To enhance the expressive possibilities of her felts, she subsequently engaged with old, nature-based dyeing techniques on the one hand, and on the other hand integrated raw materials such as alpaca, cashmere, linen, silk, cotton, and occasionally synthetic fibers into her works. From very modest beginnings, a flourishing workshop developed over the years, whose productions oscillating between art and design have now gained international attention. First, textile galleries in London showed interest in her handmade felt unique pieces, followed by fashion designers and costume designers after initial skepticism towards the material. Most recently, Jongstra’s works have attracted the attention of interior designers and architects, with whom she has been able to realize a growing number of projects in recent years. The list of her cooperation partners is impressive.\u003c\/p\u003e\n\u003cp\u003eIt includes fashion creators such as John Galliano, Donna Karan, Christian Lacroix, and Alexander van Slobbe, as well as important representatives of contemporary architecture in the Netherlands: Claus \u0026amp; Kaan, Jo Coenen, OMA, and MVRDV.\u003c\/p\u003e\n\u003cp\u003eJongstra’s sometimes figurative, sometimes abstract felt pictures have also found their way into the collections of significant art and design museums, such as the Stedelijk Museum in Amsterdam, the Victoria \u0026amp; Albert Museum in London, and the MoMA in New York.\u003c\/p\u003e\n\u003cp\u003eThe uniqueness of the “Studio Claudy Jongstra,” which has been based for about ten years in a small village in the Dutch province of Friesland and now employs eight women, is not only due to the aesthetic and artistic quality of its products. For Jongstra herself, ecology and sustainability are central aspects of her work. For example, the sheep’s wool she processes largely comes from her own flock of around 200 animals. They belong to the Drenthe Heath sheep breed, which has long been common in Holland but is now rare, and by grazing mainly on dikes, they contribute incidentally to natural landscape protection. The exclusive use of natural dyes in the studio’s own dyeing facility is also part of this context. With the money from the Prins Bernhard Prize, Jongstra established a display and experimental garden last year dedicated to cultivating old dye plants.\u003c\/p\u003e\n\u003cp\u003eThe felt rug Frisian Wouw, which Claudy Jongstra designed as part of the Edition Ruckstuhl, stands out above all for its irregular outline and its wildly moving texture. This can be understood as a reference to the archaic character of felt. The yellow coloration, which gives the rug an extraordinarily warm and homely radiance, not coincidentally evokes associations with the golden age of Dutch painting, when masters like Rembrandt used the dye from the plant Reseda (also called dyer’s woad).\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 240 x 330 cm","offer_id":54865922949449,"sku":null,"price":18316.38,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Frisian-Wouw-Haus-2.jpg?v=1784216500"},{"product_id":"la-suisse-en-laine-by-metz-und-kindler","title":"Switzerland in Wool","description":"\u003cp\u003eThe design duo Guido Metz and Michael Kindler, together with the rug and carpet manufactory RUCKSTUHL, developed the three-dimensional rug \"La Suisse en Laine\" (The Switzerland in Wool), inspired by their fascination with mountains. The rug depicts the topography of Switzerland as a relief, made from the wool of the Valais Blacknose sheep. The production is entirely carried out in Switzerland, and customers can make individual customizations. The artwork is presented as part of the exhibition \"Swiss Design Classics in China,\" which promotes cultural exchange between Switzerland and China.\u003c\/p\u003e\n\u003cp\u003eIt all started with a call from Michael Kindler to the Swiss rug and carpet manufactory RUCKSTUHL. The fascination with mountains led designers Guido Metz and Michael Kindler a few years ago to combine the most distinctive mountain ranges with gastronomy tableware. Together with the porcelain manufactory Reichenbach, the BergeTeller (mountain plates) were created. Besides the Zugspitze, the plates also feature the relief of the Dolomites region and the famous Swiss Matterhorn, one of Europe's best-known mountains. What was impressively realized on the gastronomy tableware could also be exciting as a rug, Michael Kindler thought, and he was able to immediately inspire RUCKSTUHL with the idea to develop this rug.\u003c\/p\u003e\n\u003cp\u003eThe fascination with mountains shaped by natural forces has always captivated people. When tectonic plates collide, valleys and peaks are formed that continually challenge people to climb them. Almost as old as this urge to conquer the highest mountains is humanity’s ability to make textiles and rugs from fibers. For thousands of years, wool has been processed into beautiful and useful objects. For RUCKSTUHL, wool is also an indispensable fiber – it is elastic, dirt-repellent, and ensures an excellent indoor climate like no other fiber.\u003c\/p\u003e\n\u003cp\u003eSince 2018, the rug and carpet manufactory RUCKSTUHL has been producing high-quality rugs from the selected, undyed wool of the Blacknose sheep. The natural wool results in a timeless, authentic, yet sophisticated piece of Swiss craftsmanship. All production steps and participating companies are transparently disclosed as a novelty in the industry. In the design, RUCKSTUHL draws inspiration from the structure of the undyed wool, the texture of the sheep’s fleece, and the original, pure character of the Valais mountain world where the sheep live.\u003c\/p\u003e\n\u003cp\u003eThe wool remains in Switzerland throughout the entire production process – from the pastures at the foot of the Matterhorn to the finished product: The sheep come from the Zermatt\/Upper Valais (VS) region, with RUCKSTUHL purchasing the virgin wool directly from the breeders’ cooperatives (Direct Trade). At the WOLLSPINNEREI HUTTWIL (BE), it is washed, spun, and further processed according to traditional craftsmanship. The tufting is done using a state-of-the-art robot at RUCKSTUHL in Langenthal (BE), the oldest rug and carpet manufactory in Switzerland. From the mountain meadow to the finished rug: 100% Swiss production.\u003c\/p\u003e\n\u003cp\u003eThe delicate relief made from raw materials from Swiss mountain regions, some of which have been severely affected by natural disasters in recent years, is also intended to encourage reflection on the challenges of climate change.\u003c\/p\u003e\n\u003cp\u003eTo realize the Swiss relief as a rug, extensive adjustments to the tufting robot were necessary, which the in-house tufting specialist Joshua Baeriswyl (28) implemented independently. Afterwards, Switzerland was divided into eight different elevation levels, which serve as the basis for the robot’s CAD data. After many hours of work, a true masterpiece emerges: a relief rug that highlights the breathtaking and unique topography of the home country of the manufactory RUCKSTUHL in an unparalleled way.\u003c\/p\u003e\n\u003cp\u003eMETZ AND KINDLER and RUCKSTUHL create \"La Suisse en Laine\" as a pure relief in the natural colour of the Blacknose sheep’s wool. Based on this rug, it will be possible to let imagination run free: At the customers’ request, there is also the option to incorporate elements such as lakes, roads, or logos in individual colours into the artwork. Private customers can, for example, highlight the location of their holiday chalet with a desired colour. Companies have the opportunity to create not only an impressive wall decoration for their entrance area or conference room that also absorbs sound but also to depict their subsidiaries, locations, or transport routes on the rug. Additionally, the new product is aimed at public organizations, administrations, or embassies that want to symbolically present Switzerland on their walls.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe rug will be presented to the public for the first time at the opening of the upcoming exhibition \"Swiss Design Classics in China\" about Swiss design classics at the Today Art Museum in Beijing, initiated by the Swiss Embassy in China under curator Christian Herren. As part of the campaign celebrating the 75th anniversary of diplomatic relations between Switzerland and China, this exhibition and thus also \"La Suisse en Laine\" will travel throughout China until 2025. Christian Herren is assembling a collection that represents the innovation and quality of Swiss design. The exhibition Swiss Design Classics in China aims to present iconic Swiss design and promote cultural exchange between Switzerland and China. A curated selection of Swiss design classics will be shown, including furniture, everyday objects, Swiss inventions, and graphic design.\u003cbr\u003e\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 200 x 300 cm","offer_id":54866187092297,"sku":null,"price":23600.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Teppich-Wolle-La-Suisse-en-Laine-200x300-Detail_133044e7-7f2f-42fb-a5ba-10f48f9bc2e5.jpg?v=1784047032"},{"product_id":"hypnos-bei-atelier-oi","title":"Hypnos","description":"\u003cp\u003eIn the early days of modernity, and even in the mid-20th century, there still were universal architect-designers who literally designed everything from the coffee spoon to the large building, anything that demanded design. Those times are irretrievably gone—given the ongoing specialization and differentiation that has long since also affected the field of design. When Aurel Aebi, Armand Louis, and Patrick Reymond joined forces to form Atelier Oï 19 years ago, they relied from the start on teamwork and an inter- and transdisciplinary approach to tackle diverse design challenges. Their success proves them right. The office, based in the small town of La Neuveville between Biel and Neuchâtel, has grown over the years to around 25 employees (architects, designers, graphic artists) who handle an impressive variety of projects in architecture, interior architecture, scenography, and design at the highest professional level. Among Atelier Oï’s clients, to name just the most important, are companies such as the Swatch Group, B\u0026B Italia, Foscarini, Louis Vuitton, Ikea, Wogg, and Röthlisberger.\u003c\/p\u003e\n\u003cp\u003eA fundamental basis for Atelier Oï’s work is the intensive engagement with a material or a specific construction method, which initially takes place in the office’s own workshop through the building of models and prototypes. The experiences gained in this often lengthy, experiment-rich process usually enrich several, in principle independent projects. Ideally, it is possible to revisit, transform, and further develop individual formal elements or construction ideas over time.\u003c\/p\u003e\n\u003cp\u003eAtelier Oï explicitly understands its collaborative creation as a great continuum. Accordingly, its own material and project archive is carefully maintained and constantly consulted. Individual works do not stand isolated but are meant to be understood as links in a chain. Continuing a theme, even across disciplinary boundaries and often involving a change of scale, has by now become almost a trademark of the office. Indeed, this working method repeatedly leads to surprising and convincing synergies.\u003c\/p\u003e\n\u003cp\u003eHow a project at Atelier Oï can arise from a previous one is also evident in their rug designs for the Edition Ruckstuhl. For example, the rug Dessus Dessus Dessous, woven from linen bands, traces back to a textile installation titled “Plier – Entrelacer – Superposer” (Fold, Weave, Overlap), which Atelier Oï realized at the invitation of Peter Ruckstuhl for Designers’ Saturday 2008 in Langenthal. The starting material for this work, which was nominated for the Design Preis Schweiz 2009, consisted of the linen bands typically used as borders in the finishing of rugs. The transformation from an experimental exhibition installation to an edition product involved both a technical refinement and a graphical enhancement of the design.\u003c\/p\u003e\n\u003cp\u003eThe rug Hypnos is formally inspired by the kinetic installation “Les Danseuses,” which Atelier Oï presented in 2009 for the opening of its new office and workshop building in La Neuveville. In the round, continuously narrowing wave lines that give the rug its distinctive character, the motif of the rotating, ornamentally perforated textile umbrellas from the installation—evoking the association with the skirts of dancing dervishes—is virtually frozen.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rund \/ Ø 190 cm","offer_id":54866263605577,"sku":null,"price":6706.76,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Hypnos-Haus-1.jpg?v=1784220110"},{"product_id":"ovo-espacial-by-pedro-wirz","title":"Hypnos at Atelier Oï","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\" data-end=\"837\" data-start=\"199\"\u003e\u003cem data-end=\"223\" data-start=\"199\"\u003eEnvironmental Hangover\u003c\/em\u003e is the image of a planet after excess. For his largest institutional solo exhibition to date at Kunsthalle Basel, Pedro Wirz designed a world between longing for nature and belief in progress, between ecological responsibility and unrestrained consumption. Organic materials met industrial fabrics, artisanal processes met the visual language of a technologized present. The exhibition revolved around the contradictions of a society that longs for untouched nature while simultaneously demanding ever new products, devices, and developments. \u003cspan class=\"PDq2pG_selectionAnchor\" aria-hidden=\"true\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"\" data-end=\"1281\" data-start=\"839\"\u003eAt the center of this multi-layered cosmos stood \u003cstrong data-end=\"902\" data-start=\"886\"\u003eOvo Espacial\u003c\/strong\u003e: a monumental work made of wool, measuring 10.15 × 8 meters. Even the title – the \"space egg\" – opens a space for thought between origin and future, shelter and unknown world. The work appears less as a classic rug and more as a textile landscape: soft and physical, yet alien and of almost cosmic presence.\u003c\/p\u003e\n\u003cp data-end=\"1757\" data-start=\"1283\"\u003ePedro Wirz combines in his work personal memories of the tropical Vale do Paraíba in Brazil with natural science, folklore, and mythology. His works tell of colonialism and raw material trade, technological progress, climate change, and species extinction – but never in the form of a clear message. Rather, mysterious spaces arise in which material, history, and imagination overlap.\u003c\/p\u003e\n\u003cp data-end=\"2083\" data-start=\"1759\"\u003eIn \u003cstrong data-end=\"1778\" data-start=\"1762\"\u003eOvo Espacial\u003c\/strong\u003e, wool becomes an artistic medium and the floor a picture surface. The work changes the perception of space: it is walked on, circled, experienced up close, and read from a distance. Its dimension gives it a sculptural power, while the textile surface creates closeness and intimacy.\u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"2587\" data-start=\"2085\"\u003eFor \u003cstrong data-end=\"2111\" data-start=\"2089\"\u003eRuckstuhl Art Rugs\u003c\/strong\u003e, \u003cem data-end=\"2132\" data-start=\"2118\"\u003eOvo Espacial\u003c\/em\u003e exemplifies a form of collaboration in which art is not transferred onto textile but developed together with the material. Ruckstuhl accompanied the new production for the exhibition with the knowledge and experience of its own rug and carpet manufactory. The result is a work that defies any purely functional interpretation: rug, image, landscape, and independent artistic presence all at once.\u003cbr\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003c\/p\u003e\n\u003cdiv class=\"\" data-turn-id-container=\"290919d5-e10f-46d7-959d-3493d124f5f5\" data-is-intersecting=\"true\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-(--sticky-padding-top)\" dir=\"auto\" data-turn-id=\"290919d5-e10f-46d7-959d-3493d124f5f5\" data-turn-id-container=\"290919d5-e10f-46d7-959d-3493d124f5f5\" data-testid=\"conversation-turn-7\" data-turn=\"user\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pt-12 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] 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data-turn-id-container=\"request-WEB:505c1310-246b-4f1e-b7f3-1ad5590e842e-3\" data-testid=\"conversation-turn-8\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-15 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv data-conversation-screenshot-content=\"\" class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"3fe901fe-5fb6-4036-bba7-1bb2316a9d47\" data-turn-start-message=\"true\" dir=\"auto\" data-message-model-slug=\"gpt-5-6-thinking\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\u003cp data-start=\"0\" data-end=\"92\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe realization of \u003cstrong data-start=\"21\" data-end=\"37\"\u003eOvo Espacial\u003c\/strong\u003e was donated as a contribution in kind by Ruckstuhl AG.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"Mein Shop","offers":[{"title":"Sonderform \/ 800 x 1015 cm","offer_id":54866406146377,"sku":null,"price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/CH-Basel-Kunsthalle-Velvet-Spezial-Pedro-Wirz-Gesamtansicht_10d1b67e-382c-4010-b8fd-332db9a1baf2.jpg?v=1784221194"},{"product_id":"carpe-diem-by-marcello-morandini","title":"Frisian Wouw by Claudy Jongstra","description":"\u003cp\u003eMarcello Morandini is equally the grand old man of Edition Ruckstuhl. The internationally renowned Italian artist from Varese has created a diverse body of work over nearly five decades of his creative activity with remarkable consistency, encompassing both fine and applied arts as confidently as architecture.\u003c\/p\u003e\n\u003cp\u003eFormally, Morandini's works—although the master himself views such categorizations with some skepticism—are close to Op Art and constructivist-concrete art. Mathematical principles, geometric basic shapes, and optical effects form the foundation of practically all his works. A central theme of his artistic research is the visual representation of movement or sequences of movement, for which he mostly uses the black-and-white contrast. The list of his paintings, graphics, sculptures, large-scale sculptures, furniture, lighting, rugs, other design objects, public and facade designs, as well as buildings, is as extensive as the number of his exhibitions in almost all European countries, North and South America, Japan, Australia, South Korea, and South Africa.\u003c\/p\u003e\n\u003cp\u003eAlready while studying at the famous Accademia di Brera art school in Milan between 1959 and 1964, Morandini worked as an industrial and graphic designer. His first artistic works were created in 1962. In 1965, he was able to present his work for the first time in a solo exhibition. Morandini gained international attention through his participation in the Biennales of Sao Paulo (1967) and Venice (1968). Another highlight of his artistic career was the invitation to Documenta 6 in 1977 in Kassel. In 1979, he began his long-standing and intensive collaboration with the German porcelain manufacturer Rosenthal, his probably most important industrial partner. In addition to artistic small sculptures produced in limited editions, he designed numerous vases, porcelain tableware, and other objects for Rosenthal. Furthermore, the facade designs for two company buildings in the mid-1980s attracted great attention. Additional architectural projects took Morandini several times to Singapore and Kuala Lumpur in the 1980s and 1990s, where he was mainly engaged in designing skyscraper facades. His most recent architectural project was the realization of the cultural center \"Das Kleine Museum\" in Weißenstadt in 2007. Still artistically very active, Morandini has increasingly taken on teaching roles at various European art and design universities since the 1990s. In 2008\/09, his work was honored with a comprehensive retrospective, first shown in Venice at the Galleria d’Arte Moderna di Ca’Pesaro and subsequently at the Neue Sammlung in Nuremberg.\u003c\/p\u003e\n\u003cp\u003eThe rug Carpe Diem, designed by Morandini, is characterized by an unusual but clearly defined shape. Two intersecting bundles of diagonal lines, inscribed within a rectangle, swing out into a semicircle and then return diagonally to the rectangular shape. The resulting endless loop in the form of an elongated figure eight expresses a controlled dynamic. The black-and-white contrast typical of Morandini is softened to a dark gray-light gray contrast.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Sonderform \/ 122 x 358 cm","offer_id":54871364927817,"sku":null,"price":6475.49,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Carpe-Diem-Soussol.jpg?v=1784280865"},{"product_id":"area-by-fiorella-fasciati","title":"Frisian Wouw by Claudy Jongstra","description":"\u003cp\u003eThe designer Fiorella Fasciati is one of those creative forces who rarely appear publicly even within the small design scene, yet whose influence on design development and the product world is often much greater than that of some short-lived stars, who of course also exist in this field. Her quiet and modest demeanor is, of course, contrasted by a tenacious persistence in her work, which fits well with her origin. Fasciati comes from Bergell, the southernmost, remote corner of the canton of Graubünden. More precisely from the village of Stampa, which became widely known beyond the borders of Graubünden and Switzerland through Alberto Giacometti and his family.\u003c\/p\u003e\n\u003cp\u003eThe Giacomettis were neighbors of the Fasciatis, and although this is naturally no more than a biographical coincidence, the example of the Giacomettis—who made a name for themselves as artists, graphic designers, and architects—may have shown the young Fiorella Fasciati early on that there is a world to discover beyond Bergell and that working in design can also become a profession there. Her own path began for very practical reasons with training as a primary school teacher in Chur. In 1977, she moved to Basel, where she took evening courses at the School of Design alongside her teaching job. There she soon completed the four-year training to become a textile designer. After her diploma, which already focused on the topic of rugs, she engaged Peter Ruckstuhl—who at that time had just taken over the management of the family business—in 1984 as the company’s first in-house designer. Fasciati worked on colour schemes, developed simple samples, advocated for the production of the first custom-sized rugs, and designed the company’s appearances. In 1990, she moved to the Swiss textile publisher Mira-X, where she worked for seven years as a product manager. Her responsibilities there also included managing larger projects and compiling colour ranges. Since 1997, the mother of three has been working as an independent designer. Increasingly, her work has focused on colour. Her goal is a contemporary colour scheme that does not blindly follow trend information but reveals its own signature. A high standard that can only be convincingly fulfilled with very fine antennas for the constantly changing colour perception and a clear personal standpoint. Today, Fasciati advises various textile manufacturers in Switzerland on colour schemes and collection development. She has also been in professional contact with Ruckstuhl again since 2005. In 1998, she took on her first teaching assignments at the School of Design in Basel. In 2001, she was commissioned to establish and lead a two-year continuing education class for textile design there.\u003c\/p\u003e\n\u003cp\u003eFor the rugs Area and Mesh, which were created as part of the Edition Ruckstuhl, Fasciati deliberately drew on a manufacturing technology commonly used at Ruckstuhl, whose design potential was to be explored in a new way. The decision for hand-tufting naturally suggested making the structure of the rug the central design theme. The designs, characterized by an interplay of inclusion and exclusion, are not only visually perceptible. Because the use of a pile of varying lengths, which becomes the main carrier of the sample, gives the rugs a three-dimensional structure and also makes them a tactile floor experience.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 177 x 180 cm","offer_id":54871367221577,"sku":null,"price":4810.36,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Area-Haus-1.jpg?v=1784288376"},{"product_id":"mesh-by-fiorella-fasciati-kopie","title":"Mesh by Fiorella Fasciati","description":"\u003cp\u003eThe designer Fiorella Fasciati is one of those creative forces who rarely appear publicly even within the small design scene, yet whose influence on design development and the product world is often much greater than that of some short-lived stars, who of course also exist in this field. Her quiet and modest demeanor is, of course, contrasted by a tenacious persistence in her work, which fits well with her origin. Fasciati comes from Bergell, the southernmost, remote corner of the canton of Graubünden. More precisely from the village of Stampa, which became widely known beyond the borders of Graubünden and Switzerland through Alberto Giacometti and his family.\u003c\/p\u003e\n\u003cp\u003eThe Giacomettis were neighbors of the Fasciatis, and although this is naturally no more than a biographical coincidence, the example of the Giacomettis—who made a name for themselves as artists, graphic designers, and architects—may have shown the young Fiorella Fasciati early on that there is a world to discover beyond Bergell and that working in design can also become a profession there. Her own path began for very practical reasons with training as a primary school teacher in Chur. In 1977, she moved to Basel, where she took evening courses at the School of Design alongside her teaching job. There she soon completed the four-year training to become a textile designer. After her diploma, which already focused on the topic of rugs, she engaged Peter Ruckstuhl—who at that time had just taken over the management of the family business—in 1984 as the company’s first in-house designer. Fasciati worked on colour schemes, developed simple samples, advocated for the production of the first custom-sized rugs, and designed the company’s appearances. In 1990, she moved to the Swiss textile publisher Mira-X, where she worked for seven years as a product manager. Her responsibilities there also included managing larger projects and compiling colour ranges. Since 1997, the mother of three has been working as an independent designer. Increasingly, her work has focused on colour. Her goal is a contemporary colour scheme that does not blindly follow trend information but reveals its own signature. A high standard that can only be convincingly fulfilled with very fine antennas for the constantly changing colour perception and a clear personal standpoint. Today, Fasciati advises various textile manufacturers in Switzerland on colour schemes and collection development. She has also been in professional contact with Ruckstuhl again since 2005. In 1998, she took on her first teaching assignments at the School of Design in Basel. In 2001, she was commissioned to establish and lead a two-year continuing education class for textile design there.\u003c\/p\u003e\n\u003cp\u003eFor the rugs Area and Mesh, which were created as part of the Edition Ruckstuhl, Fasciati deliberately drew on a manufacturing technology commonly used at Ruckstuhl, whose design potential was to be explored in a new way. The decision for hand-tufting naturally suggested making the structure of the rug the central design theme. The designs, characterized by an interplay of inclusion and exclusion, are not only visually perceptible. Because the use of a pile of varying lengths, which becomes the main carrier of the sample, gives the rugs a three-dimensional structure and also makes them a tactile floor experience.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 170 x 240 cm","offer_id":54871398285641,"sku":null,"price":6012.95,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Mesh-Haus-1.jpg?v=1784289018"},{"product_id":"pompon-by-hugo-zumbuhl","title":"Mesh by Fiorella Fasciati","description":"\u003cp\u003eAs a designer, Hugo Zumbühl may be considered a late bloomer – however, his interest in textiles and especially weaving has accompanied him for decades. Born and raised in Lucerne, he began his professional career with an apprenticeship as a structural draftsman. He discovered his lifelong passion, weaving, shortly thereafter at the School of Applied Arts in Zurich, where he completed training as a crafts and drawing teacher. After several years of teaching experience in Basel, Zumbühl worked between 1975 and 1981 on a development aid project in Peru, where he was involved in establishing a weaving cooperative. In this role, he researched traditional regional dyeing techniques for wool together with the Peruvian producers. Almost incidentally, he began collecting Peruvian folk art, which has since gained international recognition and is exhibited in renowned museums.\u003c\/p\u003e\n\u003cp\u003eSoon after his return to Switzerland, Zumbühl took a lecturer position at the University of Teacher Education Graubünden (then Bündner Frauenschule) in Chur, where he still teaches crafts and visual arts as part of primary teacher training. Again, it was weaving, more precisely the weaving tradition of the university, that significantly influenced his choice of this position.\u003c\/p\u003e\n\u003cp\u003eIn 1998, a meeting took place that would prove crucial for Zumbühl’s further career: at a paper weaving workshop at the Ballenberg course center, he met Peter Birsfelder, a master weaver in the workshops of the Thorberg prison. This encounter with this outstanding craftsman sparked a creative impulse in Zumbühl, from which concrete products soon emerged. With their first joint project, a rug named Oscuro woven from crepe paper and impregnated with natural wax, Zumbühl and Birsfelder won the Design Preis Schweiz in 1999. Inspired by this spontaneous success, the design duo operating under the label TEPPICHartTEAM repeatedly made a name for themselves in the following years with innovative and unconventional rug creations. Since 2001, Zumbühl has been closely connected with Ruckstuhl. The long-term cooperation in sales and material procurement opens up new customer circles as well as creative freedom for TEPPICHartTEAM.\u003c\/p\u003e\n\u003cp\u003eZumbühl’s studio is located in the converted stable of an old farmhouse in Felsberg near Chur, where he has been based for many years. Serving as both material storage and experimental workshop, it houses the simple loom on which the original patterns of his rug creations are developed through often lengthy trial processes. He fundamentally prefers the simplest binding type, the linen binding, as his primary interest lies in the material and the tactile structure of the fabric. Accordingly, the physical handling of the materials and the structure produced on the loom is of crucial importance to Zumbühl’s work. Constantly searching for unusual (partly new, partly almost forgotten) materials and peculiar material combinations, he uses for his experiments used bicycle inner tubes as well as old felt blankets and coats from the Swiss Army’s stocks or jute coffee sacks. Alongside such recycled materials, he works with hemp and plastic cords, rubber, wire, horsehair, sheep and llama wool, as well as fur strips from goats and sheep. Almost as diverse as these raw materials are the processing techniques he applies to the fabric. Sometimes inspired by archaic cultures, he experiments with painting or embossing; other times he uses a blowtorch or a cat brush. It goes without saying that only a fraction of these experiments result in marketable products.\u003c\/p\u003e\n\u003cp\u003eThe starting point for Zumbühl’s contribution to the Edition Ruckstuhl was again a material discovery. The base fabric of the rug Pompon, characterized by a dense, soft pile, consists of so-called chenille yarn, a particularly fluffy wool thread that has almost completely disappeared from the market. Fur tufts knotted in at regular intervals enliven the surface structure and set colorful accents. The image of a moonlit flower meadow at night arises involuntarily.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 200 x 300 cm","offer_id":54871646667081,"sku":null,"price":11563.37,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Edition-Pompon-Haus-1.jpg?v=1784291554"},{"product_id":"malefica-by-maelle-gross","title":"Helen by Maëlle Gross","description":"\u003cdiv class=\"\" data-turn-id-container=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-0\" data-is-intersecting=\"true\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-0\" data-turn-id-container=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-0\" data-testid=\"conversation-turn-2\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv data-conversation-screenshot-content=\"\" class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"\" data-turn-id-container=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-1\" data-is-intersecting=\"true\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-1\" data-turn-id-container=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-1\" data-testid=\"conversation-turn-6\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-15 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv data-conversation-screenshot-content=\"\" class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"d29dc31a-58ba-404e-acc5-29acee1755d9\" data-turn-start-message=\"true\" dir=\"auto\" data-message-model-slug=\"gpt-5-6-thinking\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\u003cp data-start=\"246\" data-end=\"810\"\u003eFor her solo exhibition \u003cstrong data-start=\"273\" data-end=\"287\"\u003e\u003cem data-start=\"275\" data-end=\"285\"\u003eMalefica\u003c\/em\u003e\u003c\/strong\u003e at the Centre d’art contemporain Yverdon-les-Bains, CACY, the Swiss artist Maëlle Gross engaged with the figure of the witch. The focus was not on the fantastic or demonic figure but on the witch as a projection surface for social exclusion – and at the same time as a symbol of knowledge, self-determination, and resistance. Textile works, videos, banners, and a sound sculpture formed a multi-layered, physically tangible exhibition space. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"812\" data-end=\"1305\"\u003eTwo large-format rugs formed central elements of the exhibition. The round white rug \u003cstrong data-start=\"915\" data-end=\"926\"\u003e\u003cem data-start=\"917\" data-end=\"924\"\u003eHelen\u003c\/em\u003e\u003c\/strong\u003e carries a poem whose characters emerge as relief from the surface. The script is based on an alphabet that the Swiss spiritualist Hélène Smith developed at the end of the 19th century for communication with an extraterrestrial world she described. Language here becomes material, structure, and spatial experience. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1307\" data-end=\"1645\"\u003eFor the exhibition \u003cstrong data-start=\"1327\" data-end=\"1351\"\u003e\u003cem data-start=\"1329\" data-end=\"1349\"\u003eDéplier les mondes\u003c\/em\u003e\u003c\/strong\u003e at Labanque in Béthune, \u003cstrong data-start=\"1381\" data-end=\"1392\"\u003e\u003cem data-start=\"1383\" data-end=\"1390\"\u003eHelen\u003c\/em\u003e\u003c\/strong\u003e was later realized again in a smaller format. The spiral-arranged script fits into an exhibition about invisible worlds, spiritualist voices, and alternative forms of perception. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1647\" data-end=\"2184\"\u003eThe second rug is titled \u003cstrong data-start=\"1682\" data-end=\"1712\"\u003e\u003cem data-start=\"1684\" data-end=\"1710\"\u003eMapping my own connexion\u003c\/em\u003e\u003c\/strong\u003e. Its colorful, irregular shape represents an abstract cartography of the placenta – an organ of connection, protection, and transmission. The work is conceived not only as an image but as a walkable and usable space: a surface where people can lie down, read, reflect, and come together. The rug, made of pure virgin wool, measures 300 × 250 centimeters and was tufted with dyed wool. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2186\" data-end=\"2437\"\u003eWith these works, Maëlle Gross frees the rug from its purely functional or decorative role. It becomes a carrier of images, a space of language, and a social territory – an art form that can be not only viewed but physically experienced.\u003c\/p\u003e\n\u003cp data-start=\"2439\" data-end=\"2558\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eRuckstuhl supported the art project with a material sponsorship and thus contributed to part of the textile production.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"Mein Shop","offers":[{"title":"Oval \/ 400 x 374 cm","offer_id":54871750279497,"sku":null,"price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/CH-Yverdon-CACY-Curl-Spezial-Maelle-Gross-Helen_5b392d51-f673-4915-bec9-0a9db98da726.jpg?v=1784292375"},{"product_id":"helen-by-maelle-gross-kopie","title":"Mapping my own Connection by Maëlle Gross","description":"\u003cdiv class=\"\" data-turn-id-container=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-0\" data-is-intersecting=\"true\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-0\" data-turn-id-container=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-0\" data-testid=\"conversation-turn-2\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv data-conversation-screenshot-content=\"\" class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"\" data-turn-id-container=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-1\" data-is-intersecting=\"true\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-1\" data-turn-id-container=\"request-WEB:63b04e23-16b3-445f-a058-ee53ef2d392d-1\" data-testid=\"conversation-turn-6\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-15 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv data-conversation-screenshot-content=\"\" class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"d29dc31a-58ba-404e-acc5-29acee1755d9\" data-turn-start-message=\"true\" dir=\"auto\" data-message-model-slug=\"gpt-5-6-thinking\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\u003cp data-start=\"246\" data-end=\"810\"\u003eFor her solo exhibition \u003cstrong data-start=\"273\" data-end=\"287\"\u003e\u003cem data-start=\"275\" data-end=\"285\"\u003eMalefica\u003c\/em\u003e\u003c\/strong\u003e at the Centre d’art contemporain Yverdon-les-Bains, CACY, the Swiss artist Maëlle Gross engaged with the figure of the witch. The focus was not on the fantastic or demonic figure but on the witch as a projection surface for social exclusion – and at the same time as a symbol of knowledge, self-determination, and resistance. Textile works, videos, banners, and a sound sculpture formed a multi-layered, physically tangible exhibition space. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"812\" data-end=\"1305\"\u003eTwo large-format rugs formed central elements of the exhibition. The round white rug \u003cstrong data-start=\"915\" data-end=\"926\"\u003e\u003cem data-start=\"917\" data-end=\"924\"\u003eHelen\u003c\/em\u003e\u003c\/strong\u003e carries a poem whose characters emerge as relief from the surface. The script is based on an alphabet that the Swiss spiritualist Hélène Smith developed at the end of the 19th century for communication with an extraterrestrial world she described. Language here becomes material, structure, and spatial experience. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1307\" data-end=\"1645\"\u003eFor the exhibition \u003cstrong data-start=\"1327\" data-end=\"1351\"\u003e\u003cem data-start=\"1329\" data-end=\"1349\"\u003eDéplier les mondes\u003c\/em\u003e\u003c\/strong\u003e at Labanque in Béthune, \u003cstrong data-start=\"1381\" data-end=\"1392\"\u003e\u003cem data-start=\"1383\" data-end=\"1390\"\u003eHelen\u003c\/em\u003e\u003c\/strong\u003e was later realized again in a smaller format. The spiral-arranged script fits into an exhibition about invisible worlds, spiritualist voices, and alternative forms of perception. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1647\" data-end=\"2184\"\u003eThe second rug is titled \u003cstrong data-start=\"1682\" data-end=\"1712\"\u003e\u003cem data-start=\"1684\" data-end=\"1710\"\u003eMapping my own connexion\u003c\/em\u003e\u003c\/strong\u003e. Its colorful, irregular shape represents an abstract cartography of the placenta – an organ of connection, protection, and transmission. The work is conceived not only as an image but as a walkable and usable space: a surface where people can lie down, read, reflect, and come together. The rug, made of pure virgin wool, measures 300 × 250 centimeters and was tufted with dyed wool. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2186\" data-end=\"2437\"\u003eWith these works, Maëlle Gross frees the rug from its purely functional or decorative role. It becomes a carrier of images, a space of language, and a social territory – an art form that can be not only viewed but physically experienced.\u003c\/p\u003e\n\u003cp data-start=\"2439\" data-end=\"2558\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eRuckstuhl supported the art project with a material sponsorship and thus contributed to part of the textile production.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"Mein Shop","offers":[{"title":"Sonderform \/ 400 x 285 cm","offer_id":54876132180297,"sku":null,"price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/CH-Yverdon-CACY-Velvet-Spezial-Maelle-Gross-Birth_f921df56-6d04-4255-9c15-6eb686aca84d.jpg?v=1784292374"},{"product_id":"spacegrid-edition-2025-by-edition-h","title":"Mesh by Fiorella Fasciati","description":"\u003cp\u003eFor Zurich Design Weeks 2025, Bureau Hindermann transforms the spaces of Soeder in Zurich's main train station into a mirror cabinet. Under the title WIEDER SPIEGELN, a staging unfolds here that celebrates the new rug collection from Ruckstuhl. A collection that makes designs by the Swiss architect and designer couple Trix and Robert Haussmann accessible again as rugs. This includes both icons and previously unpublished works. As pedestrians pass through the main station passage, a special highlight opens up: through an archway, the view falls on a column stump from the Lehrstück series by Trix and Robert Haussmann, fanned out with reflective floors and thus transformed into a sculptural presentation object. It serves as both an introduction and an invitation to enter the space. Inside, a square hall opens up. Eight round mirrors are arranged in a circle and frame the rug Stripes (1984). On a pedestal, it unfolds its illusionistic black-and-white pattern, which looks like a folded cloth. The mirrors pick up a central design element of the Haussmanns: they multiply the motif, reflect it in a figurative sense, and at the same time mirror the historic architecture of the station. Those who sit on the rug or lie in the center experience a kaleidoscopic effect that intertwines space and object anew. The installation also shows that the long-standing work of Bureau Hindermann with mirrors in space has its origin in the work of the Haussmanns. Behind the staging shimmers the Spacegrid Edition 2025: a 2.5 × 2.5 meter wall tapestry with mirror inlays. Bureau Hindermann thus reinterprets a 1986 design for the Hotel Atlantis for the Werkverlag Edition-H. It marks the beginning of a series of editions that bring the work of Trix and Robert Haussmann into the present.\u003c\/p\u003e","brand":"Mein Shop","offers":[{"title":"Rechteckig \/ 250 x 250 cm","offer_id":54876361752905,"sku":null,"price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/files\/Ruckstuhl-Teppich-Spacegrid-2025-ZDW-1.jpg?v=1784378148"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0974\/3299\/4121\/collections\/Ausgangsdatei_CMS-Wiederhergestellt.jpg?v=1780078716","url":"https:\/\/ruckstuhl.com\/en\/collections\/art-rugs.oembed","provider":"Ruckstuhl AG","version":"1.0","type":"link"}