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.