With the emergence of large-scale architectural structures and increasingly complex, multi-functional interior spaces in the 1960s solutions had to be found to facilitate orientation for visitors and inhabitants. At this point signage systems came in and provided orientation. One of the undisputed pioneers of the field in Switzerland was Hansruedi Scheller (1931-2007) who developed more than 200 signage systems for buildings by the likes of Rudolf and Esther Guyer and Manuel Pauli. As former Swiss champion in orienteering Scheller possessed a highly developed sense of direction that he very effectively used in his simple and easily graspable signages.
Between 1949 and 1953 Scheller received his training at Kunstgewerbeschule Zürich where the teaching staff was heavily influenced by the ideas and methods of the Bauhaus. In 1955 he went into business for himself and in the early years of his practice primarily designed brochures, posters and signets but consciously avoided advertising graphic. In the mid-1960s commissions by the Swiss army also made him design his first pictograms, a working field that consecutively became Scheller’s second mainstay.
In view of the sheer amount of projects Scheller was involved in it is surprising that his name isn’t as well-known as those of some of his contemporaries, a circumstance that likely has to do with his reluctance to teach or write about his work. Fortunately architectural historian Ruedi Weidmann and designer Thomas Bruggisser in 2017 discovered Scheller’s estate including some 4,800 photographs of mostly executed projects that provided the basis for the present book „Hansruedi Scheller - Signaletikpionier“, recently published by Triest Verlag. Beyond offering brief overviews of Scheller’s life and work the book contains a selection of archival photographs that offer first insights into his work: colorful signages alternate with complete spatial designs that demonstrate Scheller’s ambition to create enjoyable spaces beyond signage alone.
Weidmann and Bruggisser’s book despite its small size is a beautiful, lively portrait of a somewhat forgotten pioneer whose work even after decades still fascinates. Warmly recommended!
