I don't suffer from claustrophobia in elevators. I also don't find it embarrassing to ride with others. On the contrary, I enjoy observing their behavior. Some feel uncomfortable because they are traveling with strangers or because personal space is lacking. Others don’t know where to look or whether a "Grüezi" is appropriate. A ride in an elevator evokes certain associations. Therefore, it seems even more important to me to make this space pleasant. Anything that could unsettle the user must be addressed: illogical signage or smudged panels. Fingerprints on buttons or dirty fixtures convey a lack of hygiene – and that’s not a pleasant feeling.
In narrow elevators, we must work with transparency, mirrors, warm light, and a view to the outside. The elevator is the only space in a building that moves. The ride itself is a moment of transition: one steps from the outside to the inside and back again. The elevator ride should not interrupt the flow of the passage. Ideally, we feel better at the end of the ride than at the beginning. If the materials reflect coldness or the light is harsh, we feel worse when exiting. I carry these emotions into everyday life. That’s why I am disappointed when elevator manufacturers offer only dull, standard solutions. Elevators are unique spaces that should be filled with life. When the spatial composition feels pleasant and the brief stay is enriching, we have used the components well. This is exactly how EMCH Aufzüge AG works. Their elevators are unique, crafted with attention to detail. They listen, reflect, and understand the needs of their customers.
I deeply appreciate this openness and patience. What is important is that design ideas are never imposed. Before becoming an interior designer, I completed a law degree in Zurich, but becoming a lawyer was never an option for me. My fascination with interior design had been with me for a long time. Already during my studies, I had furniture made based on my own designs. Even today, I prefer to work with my own sketches or unique pieces rather than well-known design classics. For my second degree, I moved to Paris to attend the École Camondo, where Andrée Putman took me under her wing and assigned me my own projects. From her, I learned everything important.
In 2000, I founded my own company. Soon, I had several employees and offices in Paris and Zurich. I have since closed the office in France, but in 2017, I opened a branch in Mallorca. In every concept, we look for the common thread and express a clear stance. We work iteratively, from the outside in and back again. We begin with questions about the building, its use, and everyday life.
When designing an elevator as part of a project, we consider the following from the very beginning: Who will use the elevator and how often? Is it located in an office building or a private villa? Will it be used by a cleaning team in the evenings? Do elderly or mobility-impaired people live in the building, or a family with children and pets? Should the vertical movement be staged, or is it simply for transportation purposes? These aspects influence the accessibility, appearance, and operation of the elevator.
We then turn our attention to the interior. We consider which forms and materials to use, how they feel, where the light comes from, whether there should be a mirror, and whether scents, music, or announcements should be incorporated. These questions must be answered early, as the elevator is one of the first elements to be ordered. In interior design, it's not about "right" or "wrong," but about the needs and perceptions of the clients. We provide the software, while architects provide the hardware. We approach every project architecturally, not just decoratively. The goal is to find the best solution that is aesthetically, technically, functionally, and emotionally fitting. It is about overall well-being. I bring my senses, intuition, experience, and expertise to the table, without educating the client or imposing my style.