Glasshouse 1 | 240m2 showroom

Finally, we opened our new gallery of art space in the industrial area. The glasshouse from 1956 has a great character, perfectly matching our raw objects. We have a 240m2 showroom in that fantastic space so we’re able to show you many more of our artefacts and ready to hold bigger exhibitions. We still have
our small city-centre gallery.

We are proud to open our first exhibition here. It will be "Tom Strala vs. Pierre Jeanneret". We are bringing raw design together. A selection of non-decorative design artefacts showing the essential depth of design, making the beauty of
the simplicity visible. We are looking forward to seeing you here (by appointment only).

Authenticity & restoration

チャンディーガルの家具はすべての人に触れています。 素晴らしい作品。 特にチャンディーガルでは、私たちはとてもファンタスティックなものです。 すべてのテーブルを見るには常に素晴らしい。

Le CorbusierとPierre JeanneretがChandigarhを建設するプロジェクトを手にしたとき、10年の新しい協力。 Le Corbusierはすぐにプロジェクトを離れることに決めました。 しかし、Pierre Jeanneretはそこにとどまり、大学で働いていました。 だから、彼は実験をするために15年を持っていて、インドの生活様式で楽しく始めました。 今P！ ギャラリーはその作品を提供しています。

Interview with Pedja: Design as clone of the soul

This discussion between Martha Kern and Pedja Hadzimanovic explores the metaphysical character of Chandigarh's design rather than its historical context or facts. We are accustomed to employing our minds - our faculties of reason and intellect - so we easily understand the meaning and value of a work of art; but art is also metaphysical and emotional in nature and requires us to use our unconscious as well, especially when a work is complex and profound. Art and design is about more than just decoration, it also acts as a mirror of our own being.

What do you like about Chandigarh‘s design?
I love Le Corbusier and his cousin Pierre Jeanneret, both of whom left us fantastic buildings. There must be a reason why we consider them to be among the most important architects of the 20th century (laughs). Most architectural theorists respect their work because it promoted the concept of modernity, but what makes their opus so rich are the existential questions it raises, which give their designs a spiritual dimension.

...The philosopher Walter Benjamin highlighted the ritual aspect of art, and the fact that it acts as a gateway to our subconscious, with its fears, lusts and other emotions. This is where art and design become intense.

But they designed for a modern society promoting science-based rationalism. That contradicts your point of view.
Of course, and Chandigarh is a city that aimed to create an ideal of a modern and rational way of living. But, to be honest, their buildings were often complicated and not very functional (laughs). But they were also able to invest their rational ideology with an irrational and metaphysical aspect. Le Corbusier once defined architecture as serv- ing the beast, the heart and the spirit (servir à la bête, et au coeur, et à l’esprit). That is quite anti-rational, and emphasises the animalistic aspect of perception. Behind the rational facade there exists a deeper layer, one that touches our soul.

Is that the key to understanding their objects and architecture?
I believe so, but I would avoid the word ‘understanding’. Art is a medium that works with images and creates many different sense impressions. Some appear illogical and are not always even clearly understandable, so art acts more like an oracle. Through art we get a vision of the meaning of eternity, life, death, freedom, grandeur, play- fulness or banality. The abstract nature of art encourages us to pose questions, which can be quite existential. Finally, we are concerned less about the artwork itself and more about its ability to express emotions or spiritual ideas, which are more profound than rational thought.

Can a simple table really contain such complexity?
Sure, otherwise it wouldn’t touch us. For example, the Conference table1 by Jeanneret looks really banal, and the proportions are clumsy. But that roughness also expresses radicality, thus provoking essential questions about being. This table represents purity, as if everything superfluous has been erased. We become curious about the existential or the unspoiled. Here art and design prompt us to reflect on ourselves and our inner being.

So you think the table shows some deeper truth?
Yes, in a way, but not as you think. Everything in Pierre Jeanneret‘s design appears to be pragmatic and honest, but truth in art is always an illusion. There is this fascinating contradiction in trying to appear true, which Pierre Jeanneret understood and played with. So, for the library table he designed a thick top, giving the impression of a single, solid piece. But when we look under the top we can see only the border is thick and the rest is thin. Truth and illusion are both present and show a specific world view.

So it's the complexity of the human being that you are trying to find in these objects?
That is what touches me most. These pieces are tools to understand our- selves, which are eternal topics and always relevant. I don’t care about zeitgeist and mannerist questions, I need depth to become stimulated. However, I think that each person is touched by these objects in a different way: by their formal simplicity, informality, rough character, and rich patina, which bring each piece alive, and by the incredible story of these beautiful pieces, discarded in the 1990s like trash. There are so many layers in his objects and you see a new one each time.

Why are these design pieces priced so high today?
The topic of value is completely different from that of quality. OK, these objects are expensive because the most important 20th-century duo of architects designed them. Each piece is unique, with different dimensions, and quite different to the industrialised mass production of someone like Eames, Mies van der Rohe or Kjaerholm. Now that Chandigarh has finally become a World Heritage Site it is attracting much more attention. Additionally, these pieces have an incredible patina, which shows their history and this is quite rare for modern furniture. In economic terms, value reflects how rare and important an artwork is – issues that are essential for me as a gallery owner. But if you want to approach these objects more deeply, you need to have your own response and avoid preconceptions.

Don’t you think it’s perverse that this design for poor people has become so expensive?
Le Corbusier and Pierre Jeanneret made designs for rich and poor in the same way. They were looking for a language that suited humans but not one for any specific social class.

But now people pay €100,000 for a table by Pierre Jeanneret – isn‘t that crazy?
It‘s probably crazy if you have no money. If you can afford it, then your budget is higher and it looks different. Imagine that you are very rich and can choose between a good table that costs €1000 and my fantastic table costing €100,000. If you don’t have to worry about money, why would you buy the cheap one? My table is magical, look, it’s a primitive artefact – ascetic roughness, archetypical shape, its generosity. Additionally, this is one of the most important tables of the 20th century. That is the beauty of money (laughs), you can ex-change it for something spiritual, like this piece of design. Yes, it may be perverse to pay €100,000 for a table, but I do it too. I’m not afraid to do things like that.

Glasshouse 2 | additional 300m2 showroom

In 2018, we finally added our third showroom and closed our gallery in the city centre. Glasshouse I and II are now ready to welcome you. We now have around 450m2 surface area, with a capacity to have even two exhibitions simultaneously and to hold some events. We have kept the industrial character of the glasshouses, matching the raw artefacts that we have.

In 2019, we will continue with an additional alteration of glasshouse I. Solving technical problems. Then I'll be happy to connect glasshouse I and II and activate the exterior space as well. We are looking forward to a great party season. Champagne, Cognac, and Gin are waiting for you. We are looking forward to seeing you here (by appointment only).

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.

Instead of repeating the usual narratives about “Swiss precision”, “rational intelligence” or “functionality as virtue”, the show focused on non-conformism, rawness and doubt in design. Important objects by Pierre Jeanneret and Le Corbusier from UNESCO World Heritage sites, or by Tom Strala, were placed directly on the museum floor – no plinths, no glass boxes. The exhibition ground itself became a conceptual element: a chalk-drawn layout of a virtual building – no more, no less – ephemeral and fragile. A method borrowed from Brecht’s epic theatre and later seen in Lars von Trier’s Dogville. Not projected emotions, thoughts or morality – rather a void that allows everyone to create their own perception. Because the objects stood directly on the ground, visitors were allowed to touch them. Chairs were not isolated as art objects – they remained physical, usable things. The show rejected both object fetishism and educational authority. Visitors could engage freely, without being reduced to passive observers or admirers. They were invited to question, reflect, connect.

This format avoided all decorative distraction. It was a gesture of reduction – but not minimalist in the marketable sense. It insisted on essential presence, on the sculptural truth of each object. Nothing was hidden, nothing polished. “Design is not polite,” said Pedja Hadži-Manović, who curated the exhibition. “It must be radical. It must resist the culture of compromise.”

In this spirit, the show embraced a set of works usually neglected in the Swiss canon: experimental, imperfect furniture – humble, primitive, almost childlike. A side of Swiss design that had long been ignored was made visible here. But it was precisely this aesthetic of the humble and playful that resonated with the Omani visitors, a culture where restraint and simplicity still carry meaning. Rather than preaching sustainability or morality, the exhibition created a space for reflection: on value, fragility, and the unexpected common ground between distant cultures. The layout – chalk lines slowly fading – became a silent metaphor for impermanence. What remained was clarity.

This was not a compromise.
It was a radical curatorial decision.
A non-conformist stage for objects that don’t obey.

P! + GALERIE PAGE TOKYO | a cooperation

I’m proud to announce our new cooperation with GALERIE PAGE TOKYO, directed by Takeshi Ota, based in Tamagawa Denenchofu, Setagaya-ku, Tokyo. Together, we’ll be presenting selected Swiss and international design projects to a Japanese audience. What unites us is a shared interest in non-conformist design – objects that resist the decorative and challenge norms. This collaboration includes curated presentations in both Tokyo and Europe, beginning with a focus on experimental furniture and proto-architectural forms.

We believe in the intensity of form as cultural language – and Japan has always offered a particular sensibility for that. It is not about exporting aesthetics, but opening a reciprocal space of questions. This marks a new chapter for us: modest in gesture, but radical in consequence.