Self-Staging Over Object | A Critical View of the Design Gallery Scene

I started trading vintage furniture in 2008. Initially Italian design of the 20th century, all still out of my own apartment. Then my interest gradually shifted toward radical design, a process that came from the gut and showed me the intensity of the objects that mattered so much to me. As an architect, I also had no real idea how to run a gallery economically, and that was for the best. It let me follow my passion, satisfy my curiosity, and focus primarily on the quality of the objects. Experience and knowledge have since accumulated, but curiosity and the fascination with quality in design remain the real drivers.
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Design and Chandigarh Objects – Investment Potential for 2026

2020 to 2025: The Market Under Stress Test
The Covid years 2020 and 2021 were generally difficult for the art trade. Without exhibitions and fairs, trade nearly came to a standstill. Traditional art galleries without an online presence suffered more than digitalized houses. Design furniture galleries with an online presence, however, experienced demand: collectors who were now stuck at home invested in upgrading their homes. The second crisis lasted from 2022 to 2025: inflation, recession fears, geopolitical tensions, and trade wars led to a hesitant buyer base. Globally, the art trade fell by 12% in 2024, and the auction market collapsed by 7% in the first half of 2025.¹ Revenue drops by major players such as Hauser & Wirth by 50% are cause for concern.²
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Pierre Jeanneret: The Transformation and the Classification of His Work

Pierre Jeanneret (1896-1967) is one of the most underestimated figures of modern architecture and furniture design of the 20th century. As the office partner and cousin of Le Corbusier, he shaped the development of modern architecture over more than three decades and created furniture designs that are now regarded as icons of 20th-century design. His late work in Chandigarh, the purpose-built capital of the Indian state of Punjab, represents the culmination of his career and documents with particular clarity his approach to linking modernism with local context and climatic conditions.

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Why Blockchain Certificates for Your Design Objects

P! Gallery is introducing blockchain certificates for all its design objects. It is an authenticity certificate that provides security. It can always be verified, is indestructible, and no information can be retroactively manipulated or altered. While most physical certificates today have no photographs or only small attached photos as evidence, or could have individual details simply changed, this digital form is a guarantee. Purely physical certificates remain valid only as long as the selling gallery exists; after that, verification becomes difficult. Proving that an object is truly authentic or was sold by the said gallery becomes a laborious undertaking for descendants. Uncertainties and resulting losses in value follow from this.
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Why authenticity needs extra attention when buying Chandigarh items

Authenticity:
If it's about Chandigarh items, authenticity is essential. It’s not just about the shape, it’s about history and value. And here the questions begin: What must remain original? Which parts may be replaced? For example, P! Galerie exclusively sells authentic mid-century pieces, where all solid wooden parts are originally from that piece, never replacing any damaged components with new ones or cannibalising other damaged pieces. Defining red lines is essential. Many items are damaged, and many resellers define different limits. Always discuss the gallery’s policy upfront.
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Illegal Market on Pierre Jeanneret Objects: Reeditions, Hommages, Fakes

Pierre Jeanneret's furniture from the Chandigarh project has become one of the most sought-after design collectibles in the world. This success has created a massive illegal market operating on multiple levels, each with its own logic and methods.
Some manufacturers ignore copyright entirely. Others exploit legal ambiguities and hypocrisy. And then there are the outright counterfeiters producing fakes. These are aspects to know before deciding which direction fits to you. Especially since all suppliers claim to offer originals.
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Swiss Non-Conformists | A critical reexamination

The canon of Swiss design is often reduced to a singular narrative: one of technical precision, functional purity, and the moral imperative of “Good Form.”1 This dogma, codified Swiss design as an exercise in integrity, simplicity, and objective correctness2. Yet, as the 2023 exhibition CH-DSGN – The Swiss Non-Conformists2 revealed, this narrative is not exhaustive. Beneath the surface lies a radical, archaic, and defiantly unembellished tradition—one that challenges the very foundations of its own legacy.
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P! ＋ GALERIE PAGE TOKYO｜A cooperation

I am pleased to announce our new collaboration with GALERIE PAGE TOKYO, led by gallerist and collector Takeshi Ota, based in Tamagawa Denenchōfu, Setagaya-ku, Tokyo. Together, we will present selected positions of Swiss nonconformism as well as international design projects to a Japanese audience. We share an interest in nonconformist design—objects that resist the decorative and question norms. The collaboration includes curated presentations in Tokyo and Europe and begins with a focus on experimental furniture making and proto-architectural forms.

Non-Conformist Swiss Design in Muscat | CH-DSGN

On 1 February 2023, P! GALERIE presented the exhibition of Swiss design at the National Museum of Oman, following an invitation from H.E. Jamal al-Moosawi, the Secretary General. The museum, located directly opposite the Royal Palace in Muscat, hosted the show in its central exhibition hall. The exhibition was officially opened by Sayyid Bilarab bin Haitham Al Said, the son of the Sultan. What followed was not a conventional design show, but a conceptual statement. No scenography. No event-like spectacle. Just objects on the floor.
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Glasshouse II | Expanded to 480 m² (5200 sq ft)

We have extended our showroom. Glasshouse I and II are now open - 480 m² of space in a former greenhouse. Nothing manicured. More a storage gallery than a boutique. The raw structure remains visible, in resonance with the uncompromising artefacts we exhibit.

The glasshouses are both storage and exhibition site. The objects respond to this condition: direct, unembellished, precise. Champagne, Cognac, Gin, Japanese Whisky, and Swiss chocolate are waiting. By appointment only.

Design as clone of the soul – interview with Pedja Hadži-Manović

This conversation between Martha Kern and Pedja Hadži-Manović examines the metaphysical character of Chandigarh's design – not its historical context or factual level. We are accustomed to employing our intellect and can thus understand the meaning and value of a design object on an intelligible level. Design, however, is more, is also perceived unconsciously and emotionally. Only here does design become complex. Design is more than mere decoration or a zeitgeist phenomenon; it functions as a perceptual phenomenon, and as such it penetrates deeply into us and our being.

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Glasshouse | New showroom

We have closed our small downtown gallery and opened a new space in the industrial area. The glasshouse from 1956 has character — perfectly aligned with the raw objects we show. With 240 m² of open space, we can now present a broader range of artefacts and host larger exhibitions.

We are looking forward to welcome you here.