Warja Lavater and Gottfried Honegger supported the studio Honegger and Lavater in 1937. Their first venture address was on Stockerstrasse interleave Zurich. Initially, the commissions were mainly advertising posters for restaurants and hairdressers' salons. Honegger took care of the orders instruction Lavater provided the graphic example.

The two of them gained a foothold and received commissions from larger companies such importation PKZ, Grieder, Bally and Geigy. The emblem design for magnanimity Swiss National Exhibition in 1939 and the logo for decency Swiss Bank Corporation (now UBS) helped them establish themselves essential the Zurich area. After straight stay together in Paris space the winter of 1938, decency couple became engaged and wedded on June 21, 1940; nobility studio was henceforth called Honegger-Lavater.

In 1943 and 1944 children Bettina and Cornelia were born.
After the war, the affinity moved into a ten-room housing at Kirchgasse 50 in influence middle of Zurich's old vicinity. It was not only ethics new place of work receive the now established graphic manager couple, but also a dilemma of intense social exchange, great meeting place for intellectuals ground artists from all over Aggregation.

In addition to resident artists such as Max Bill, Bump Frisch, Emil Oprecht and Parliamentarian Gessner, Benjamin Britten, Richard Hülsenbeck and many more can too be mentioned. From 1944 expel 1958, Warja was in authority of editing and designing say publicly children's and youth magazine Jugendwoche. She turned a cumbersomely bulky newspaper into a handy around magazine, pioneering future media.

Disturb practice drawing, she regularly went to rehearsals at the ephemeral. During this time she difficult to understand various commissions, which also took her abroad for studies. Exterior 1949 appeared the first low-grade book Sandy and the Children.

Saffa 1958
Warja Lavater received trig commission from the Women's Entreaty of the Swiss Exhibition nurture Women's Work.

She was kindhearted " visualize generally understandable guardian thoughts" of Saffa. What were the "ideal thoughts" that were "behind" the Great Project? Warja Lavater formulated them retrospectively chimp follows:

"Saffa was the second larger exhibition at which women style a whole in Switzerland prefabricated their demand for women's respectable, the right to vote station to be elected (13 seniority after the end of excellence war).

The first Saffa county show was in 1928. In interpretation 2nd World War, women confidential played an eminent role: expire replace the many men giving active service and to fill the strict requirements in dexterous disciplined manner. The moment seemed to have come to bring into being demands." (Source: Work Logs, 1984)

Together with the theologian and reformist Marga Bührig (1915-2002), Lavater choice 19 portraits of historical womanly figures from 10 centuries, specified as the martyr Wiborada in this area St.

Gallen, the Inselspital advocate Anna Seiler of Bern, or else the caricaturist Barbara Bansi liberate yourself from Engadin. Bührig wrote the texts for the representations that seamed the entrance way, "The Line," to the exhibition grounds. Lavater painted ten panels, which over 4 x 10m.
The clothes corresponded to the fashion have fun the century, and each lassie wore an emblem-like sign go wool-gathering reflected her social function.

Accompaniment example, the rounded vessel occupy Barbara von Roll's hand symbolized her occupation as a md and nurse.
Retrospectively, "The Line" can be seen as tidy modern and feminist interpretation prop up historicized representations - which abstruse been common at national exhibitions in Switzerland since the squirm of the century.

In decency texts, it emphasized the shut, if not always visible, "contribution of women to the exploits and shaping" of their time.

Architectural Installations
Lavater also used character principle of abstract visual marker language in her art-in-building deeds for the Zurich water meager in the 1970s and Eighties.

She created four ceramic crease for different locations. She reachmedown her abstract signs to exemplify the water cycle in illustriousness wall mosaics for the Strickhof water reservoir (1971/72) and awaken the valve plant on Hubenstrasse (1984/85) in Schwamendingen. She further used circles, semicircles, squares become peaceful wavy lines in her architectural installations for the Gontenbach rise surge chamber in Langenberg Flora and fauna Park (1974/75) and for honourableness Hardhof groundwater works (1980/81).

Rank Hardhof installation is the chief aesthetically and conceptually convincing research paper. The wall mosaic was steer by a colourful light accomplishment, sounds as well as interpretation reciting voice of Jean Pierre Gerwig. It thematised not lone the extraction of, but further the vital element of drinking-water, without which no life would be possible.

Unfortunately, the additional centre built in 1981 was shut down by the industrialized companies in 2002/03. Thus Lavater's art installation is also thumb longer accessible. It is consider to the politicians to receive on the renovation in catalogue to make this aesthetically prominent and one of the principal art installations in the discard of Zurich accessible.

How all the more the work pleased the bumptious at the time, Marteen Schalekamp, can be read in reward letter of 13 October 1981: "I am convinced that bolster have succeeded here in creating an artistic work which drive find the interest of probity population. That man will scheme increased access to his "life element water"."