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Vitra has manufactured furniture designs by Charles & Ray Eames and George Nelson since 1957. Building on this foundation over the years, the company has developed a wide range of furnishings for the office, for the home and for public spaces in collaboration with progressive designers.
 
Yet Vitra is more than just a design-oriented manufacturing company. The name also stands for the Vitra Design Museum, for a collection of modern furniture and its accompanying archive, for workshops and publications on topics of design, and for an architectural concept that unites buildings by Frank Gehry, Nicholas Grimshaw, Zaha Hadid, Tadao Ando, Alvaro Siza, Herzog & de Meuron and SANAA at the Vitra Headquarters in Birsfelden (Switzerland) and on the Vitra Campus in Weil am Rhein (Germany).
 
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Designer

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Max Bill, born in 1908 in Winterthur, Switzerland, completed an apprenticeship as a silversmith at the Kunstgewerbeschule in Zurich and studied at the Bauhaus in Dessau under Josef Albers, Wassily Kandinsky, Paul Klee and others. In 1929, he returned to Zurich where he worked as an architect, painter, graphic designer and sculpture and later as a product designer. From 1932 to 1936, Max Bill was a member of the Paris artists’ group “Abstraction-Création” and developed friendly contacts with Hans Arp, Piet Mondrian and Auguste Herbin. In 1936, he formulated the “Principles of Concrete Art”. In 1937, he worked on a monograph of Le Corbusier and joined the “Allianz”, the association of modern Swiss artists. In 1944, Bill founded the magazine “abstrakt konkret”, organized an exhibition under the same name at Kunsthalle Basel and obtained a post to teach formal structures at the Kunstgewerbeschule in Zurich. As the spiritual creator and architect of the Hochschule für Gestaltung in Ulm and then, from 1952, as the rector and head of the architecture and product design departments, Bill attempted to continue the tradition of the Bauhaus in Dessau. From 1967 to 1974, he held a professorship in environmental design at the Staatliche Hochschule für Bildende Künste in Hamburg. A number of monumental sculptures are created during the 1980s. Amidst all these areas of activity, the name Max Bill is primarily associated with concrete art and environmental design. In addition, as a student of the Bauhaus and contributor of theoretical publications, Bill became one of the most important stimulators of modern-concrete art in post-war Europe. He died in 1994 in Berlin.

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