Developed for the 1939 Swiss National Exhibition (Schweizer Landesausstellung), the Landi Chair occupies an important place in the history of twentieth-century design: this classic by Hans Coray established the new typology of a three-dimensionally moulded seat shell on a separate base. The clear structure of the all-aluminium chair consists of two parts. First, a pair of U-shaped profiles connected by welded crossbeams form a self-supporting frame and simultaneously serve as the legs and low armrests. This base supports a seat shell, which makes ideal use of the material’s possibilities: the 91 punched holes not only ensure the modest weight and flexibility of the comfortable shell, but also give the graceful Landi its trademark appearance.
The lightweight, stackable Landi Chair is robust and weather-resistant. Technical innovation, optimal use of materials, minimalist forms and understated elegance are the elements that have made the Landi Chair into a classic over the years, which looks as fresh and vital today as ever.
The Landi Chair will be available for order in the beginning of 2016.
Hans Coray was raised in Zurich, where he completed a doctorate in Romance languages. In the 1930s he began to experiment with metal and wire as an autodidact, applying these techniques to the design of furnishings, industrial products and sculptures. He was closely associated with the artists of Dada and the Concrete Art movement in Zurich, a circle including Max Bill, Verena Loewensberg and Hans Fischli. In the summer of 1938, Hans Fischli, who had studied at the Bauhaus, encouraged him to develop models for the official chair of the 1939 Swiss National Exhibition – designs that 'should be new in every way'. Over a short period of time, Hans Coray developed two prototypes for 'an all-aluminium chair that can be stacked vertically'. His aim was to create a lightweight and graceful chair that combined an inviting appearance with outstanding comfort. As the first of Coray's seating designs to enter production, the Landi Chair became a milestone in design history. An adherent of humanist values, Coray continued to create furniture into the 1950s, turning his attention in the later years of his life to painting and sculpture.