Gottlieb Kistler-Söhne logo
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Gottlieb Kistler-Söhne

Gottlieb Kistler-Söhne was a Swiss manufacturer of formwork panels for concrete construction, active in the late 1950s. Its logo was designed by Swiss graphic designer Siegfried Odermatt in 1959-1960.

Gottlieb Kistler-Söhne was a Swiss manufacturer of formwork panels (Schalungstafeln) for concrete construction, active in the late 1950s. The company’s visual identity is documented in the collection of the Swiss museum platform eMuseum, which holds examples of its logo and advertising materials.

Design and History

The logo for Gottlieb Kistler-Söhne was designed by Swiss graphic designer Siegfried Odermatt (1926-2017) in 1959-1960, according to the eMuseum collection records. The museum attributes both the design and typography of the mark to Odermatt.[1]

At the time of this commission, Odermatt was running his independent studio in Zurich, which he had established in 1950. He would not found the celebrated atelier Odermatt & Tissi with Rosmarie Tissi until 1968, after a decade of collaboration.[2][3] The Kistler mark therefore predates the formal Odermatt & Tissi partnership, though it belongs to the same body of corporate logo work Odermatt produced during this period.

Odermatt was recognized from 1959 onward as a leading figure of the constructivist school of Swiss graphic design, a movement characterized by strict geometry, grid-based layouts and functional clarity.[4] The Kistler logo, created in this same year, reflects that approach.

Meaning and Symbolism

eMuseum records the company’s advertising slogan as “Allen überlegen: Kistler-Schalungstafeln” (roughly, “Superior to all: Kistler formwork panels”), with the logo appearing on materials promoting five different panel types for concrete work.[5] The museum’s records do not provide a documented interpretation of specific symbolic elements within the mark itself.

Typography and Design

The eMuseum catalog entry explicitly credits Siegfried Odermatt with the typography of the Kistler identity, in addition to the overall design.[1] The work is dated to 1959-1960 and is held in the museum’s collection as an example of Swiss graphic design from this period. No specific typeface name or detailed construction notes are documented in the available records.

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