Timeless and Totally Modern: The Biel/Bienne Paradox

The Cité du Temps – French for the City of Time – is nestled in the heart of Biel, the world's watchmaking capital.

Rotonde, now a restaurant, was built in 1932 as a Volkshaus (People's house) and renovated in the 1980s. It is now used as a restaurant. Designed by Eduard Lanz, it belongs to the era known as "Red Biel": under the Social Democratic government with Guido Müller as city president.

Biel/Bienne has never ranked among Switzerland’s must-see cities. As Wikipedia plainly puts it, it’s “an industrial town in Switzerland, located in the canton of Bern and near the city of the same name. The town is known for its many companies that make watches and machines.”

All of that is true, but that's why I loved it. After exploring several postcard-perfect Swiss towns steeped in medieval charm, I was genuinely surprised to step out of Biel/Bienne’s train station (a striking piece of architecture in its own right) and find an information wall comparing the city to New York in terms of its architecture and history, along with a peculiar metal sculpture of figures seemingly tumbling through the air.

Built in 1929 and renovated in 2021, Atlantic House was a residential complex in the style of Biel Modernism. The building was legally recorded in the canton's building inventory as "worthy of protection" and belong to building group T (Biel, Bahnhofquartier).

I found it refreshing to see something beyond the picturesque 18th-century charm I had already encountered in St Gallen, Bern, parts of Basel, and various Italian cities. Almost immediately, I noticed striking examples of Bauhaus and Art Deco architecture, all within the first block outside the station. Then I ‘got it’. Most people visit Swiss cities to see old town charm, but few appreciate the beauty of early to mid-20th-century design. I recently read about two people who left Berlin to move to Biel/Bienne, and I can understand why. Both cities share a certain gritty charm, though they differ in many ways. Biel is smaller and blessed with nature such as mountains, lakes, and a softer rhythm. It may be an industrial city, but you won’t find smoke-belching factories; today, its industries revolve around precision watch and clock making.

The city endured economic hardship during the global crises of the 1920s and again in the 1970s and 80s, leading many residents to leave. As a result, numerous buildings from those periods were abandoned, not demolished or restored, and now stand as valuable examples of their architectural eras. Biel is even recognised as having the most Bauhaus buildings outside Tel Aviv. Some of these 20th-century structures are being preserved and repainted, given a new lease on life. In 2004, the Swiss Heritage Society awarded Biel the Wakker Prize for conserving its modern architecture, particularly the “new construction” of the 1920s and 30s. One such building, the Jurahaus, caught my eye as I wandered the city on my first day.

Jurahaus, by architect Wilhem Schürch, not to be confused with the The Grand Jura Garage. 

When I visited, I actually mistook this building for the Grand Garage du Jura, an easy mix-up, especially after its recent blue makeover. Designed by Wilhelm Schürch and completed in 1930, the building is a fine example of “Biel Modernism.” It was officially listed as a historical monument in 2011.

Between 1927 and 1948, the area north of the station, known as the Bahnhofquartier (Station Quarter), was developed following the principles of the New Building movement. With its carefully planned, cohesive streets, it’s considered unique in Switzerland. Just beyond this district, Schürch designed this distinctive corner building, its elegant curves defining the small, square-like intersection where it stands.

It remains an outstanding and remarkably well-preserved example of modernist architecture. During its renovation, the original blue colour scheme was faithfully restored, and in recognition of efforts like this, Biel received the prestigious Wakker Prize from the Swiss Heritage Society in 2004. The Jurahaus itself was added to the canton’s building inventory as “worthy of protection” in 2003 and officially protected by contract in 2011.

Evidence of the car industry in the Biel/ Bienne Neues Museum (New Museum).

At the New Museum in Biel/Bienne, I learned that the city’s story is deeply linked to both clocks and cars — and that it faced major challenges during the 1930s. When the global economic crisis hit, the watch industry collapsed and a third of Biel’s population became unemployed. In response, the socialist mayor, Guido Müller, struck an agreement with General Motors to build an automobile assembly plant in the city, creating hundreds of desperately needed jobs.

By 1936, the new factory was producing cars for brands such as Chevrolet, Opel, Buick, and Oldsmobile, with parts sourced both from the United States and from Swiss suppliers, including Swiss-made clocks. The Ford brand was also represented locally in the Grand Garage du Jura building. Who would have thought that American cars would once be built in Switzerland?

When World War II broke out, car production stopped and the factory turned its efforts to wartime work, converting old vehicles into pickup trucks, producing bags and ammunition cases, and repairing train cars. Although Switzerland remained neutral, it mobilised heavily, and Biel’s factory workers played their part in supporting the national effort.

The red "Pilz" (tram shelter) on the Zentralplatz, Biel, built in 1927.

As I was walking by Zentralplatz in Biel/Bienne, the red "Pilz" tram shelter immediately caught my eye—typically Modernist in form, yet remarkably well maintained. Designed by Ernst Berger in 1927, these shelters, nicknamed "Pilze" for their mushroom-like shape, are protected examples from the period of "Red Biel/Bienne." After the tramways were converted to trolleybus operation in the 1940s, the shelter retained its original function as a bus stop. In 2001 it was moved slightly during a redesign of the central square and underwent renovation in 2020. Standing prominently at the heart of the Platz, the former tram stop has been imaginatively repurposed as a vibrant focal point; whenever I walked by, it was alive with markets, performances, and gatherings, a delightful testament to how architecture can evolve into a cherished social hub.

The Cité du Temps building with one of The Apollo 13 Lunar Modules in the foreground.

In addition to its automotive heritage, Biel is celebrated as a global hub for watchmaking. Perhaps most famously, Buzz Aldrin wore an OMEGA watch when he set foot on the moon in 1969, a testament to the city’s horological prominence, with Omega’s headquarters located in Biel. The history of Omega, alongside that of Swatch, can be explored at Cité du Temps (City of Time), an institution operated by The Swatch Group Ltd, the world leader in finished watches. The museum brings together 17 distinguished watch brands, including Breguet, Harry Winston, Blancpain, Glashütte Original, Jaquet Droz, Léon Hatot, Omega, Longines, Rado, Union Glashütte, Tissot, Balmain, Certina, Mido, Hamilton, Swatch, and Flik Flak.

The building itself is a striking architectural achievement, designed by Pritzker Prize-winning Japanese architect Shigeru Ban. Its sinuous, snake-like form seamlessly unites the museum spaces with the administrative areas, creating an elegant dialogue between function and design. The form is so complex that photographing the entire building proved almost impossible, and I found myself wishing I had a drone to capture it from above.

Inside, the Omega Museum houses an extraordinary collection chronicling the brand’s history, including its pivotal role in the Apollo 13 mission. The Speedmaster Professional chronographs, which contributed directly to the crew’s safe return, exemplify the precision and innovation that have long defined Biel’s watchmaking legacy. As I wandered through the various buildings, I was delighted to spot some of my own Swatches from the 1990s on display, a nostalgic reminder of the brand’s reach and influence and a personal highlight of the visit.

The Cité du Temps with bicycle racks and smart car parks for staff.

Pop culture but museum worthy, the Pop Bones watch, designed by Jim Avignon; this was my go to watch in the 1990s. 

I had Mouse Rap and Tequila, amongst other 90s Swatches.

Outside of the main CBD, Biel is quite charming, clean and green with numerous parks and forests and the famous Lake Biel. I was fortunate to be able to spend a week in the city which enabled me to take two-day trips to different cities (Lausanne and Basel) on the efficient Swiss train network using my Swiss Pass (expensive but convenient) and take a hike between vineyards along Lake Biel.

Hiking between vineyards alongside Lake Biel.

Holiday makers used the lake for water activities such as swimming and kayaking. As I was on a Workaway, house and pet sitting, I stayed in a home in a residential neighbourhood and was able to enjoy viewing the backyard vegetable gardens of my neighbours. I also discovered the at the apartment was adjacent to a cemetery (tick!) and next to the cemetery was a small forest (double tick!) so there was always plenty to do. The Swiss use bicycles more than Australians and I gingerly tried out cycling around the neighbourhood using one of my host’s bikes.

Sculptural gravestones at the Biel/ Bienne Cemetery.

Another delightful hike in the area that I enjoyed is the Taubenloch Gorge and the walk beyond to the charming town of Frinvillier. The Gorge is one of the most popular excursion destinations in the region. It is mostly accessible with lush walkways, caves and overhanging rocks. There is also 150 million years of geological history with geological evidence that fish and other creatures lived in the Jurassic Sea here.

Views from my from Taubenloch Gorge hike.

Signs in Biel/Bienne are usually in German and French but not always English; this sign along the loch translates (from German) as: In memory of Maria Murset (1913-1998). Her foundation supported the restoration work of the Taubenloch Gorge with a substantial sum. Spring 2005 City of Biel

Mural on the road towards Taubenloch Gorge.

Heading back into the city was effortless aboard the local trolleybus, and I soon set out in search of the architecturally striking Congress Centre. A defining landmark of modern Biel/Bienne, the building was designed by Max Schlup between 1961 and 1966 and later refurbished by Rolf Mühlethaler in the early 2000s. Its vast suspended roof, among the largest in Europe, gives the structure a sense of poised drama. The Congress Centre is both impressive and confounding to photograph; its size and sweeping angles seem to defy the camera’s frame.

Both the Congress Centre and its neighbouring buildings are outstanding examples of mid-century Brutalism, a style now rare and often polarising with a cult following of enthusiasts (including me), lobbying to prevent demolition of similar buildings.

The Centre serves multiple roles: conference venue, concert hall, and home to a fitness complex and indoor pool, both visible through its glass façade. The adjoining tower houses offices, though on my visit the atmosphere was all strategy and silence as a chess competition was underway.

Thanks to an ingenious underground car park, the forecourt is a broad pedestrian plaza rather than a sea of vehicles. Across it sits an intriguing domed structure known as Chessu in German or La Coupole in French, once called Gaskessel when it functioned as a gasworks. Today, it thrives as an autonomous youth and performing arts centre, adding a touch of creative rebellion to Biel’s modernist landscape.

It could easily have been demolished once it ceased to operate as a gasworks, except that in 1968, around 200 young people from Biel staged a sit-in in solidarity with demonstrators in Zurich following the Globus riot, demanding an autonomous youth centre of their own. The Biel authorities ultimately agreed to preserve one of the two disused gas plants in the youth district. After two years of negotiations, the city granted permission for its use, and it became a self-managed concert hall known as the Autonomous Youth Centre. Although it has faced the threat of redevelopment, it continues to operate, a reminder of Biel’s enduring independent spirit.

Together, the Congress Centre and Chessu capture Biel’s dual character, rational yet rebellious, precise yet playful, a city where industrial ingenuity, architectural ambition, and cultural freedom intersect in ways both surprising and distinctly memorable.

Views of The Congress Centre, built between 1961-66.

Views of the Chessau dome; patrons must go underground to the spaces; the forecourt is above an underground carpark.

I was so absorbed with photographing the mid-century buildings, that I almost forgot about the existence of Biel’s own old town, so I sought it out after an afternoon in the city. The town of Biel was built by the Prince-Bishop of Bale between 1220 and 1230 and the old town is the smallest part of Biel with only 9 hectares (22 acres) making it appear less significant than old towns in other Swiss cities. Most buildings there still look as in the 18th century. The Ring Square is dominated by a large, historic fountain featuring a "Venner" (banner carrier) statue. The Ring is the oldest square in the city, once the market and court square. Its name, "Ring," refers to the circle of people who would convene to decide the fate of criminals. 

The Ring, featuring a historic fountain with a "Venner" (banner carrier) statue.

After a quick walk around and passing on the idea of dinner in the area (tourists flock to the old towns which puts up meal prices) I emerged back in the main city where the locals were and had to look twice; it was a Tiki Bar. A quick look inside was enough to make me stay; the people, the affordable drinks, the décor and above all, the retro music were refreshing. The patrons appeared to be local and knew each other. After I gave an acknowledging pat to a dog outside, I could tell that this was a place where everyone was welcome. I intended to return on another day, but, like many bars and restaurants in Switzerland, it was closed on Sunday through to Wednesday.  Some say that Biel is more friendly than other Swiss cities.

My Workaway job was to look after Lily the cat, Julie, the hamster and to maintain a garden. 

The Cosmos bike, one of the various industries in Biel; image from the Neues Museum, Biel.

Spending a week in Biel/Bienne was a lesson in bilingual living. The city, Switzerland’s largest officially bilingual hub, sits right on the border between German and French-speaking regions, and everywhere you look, the two languages coexist in everyday life.

On the local buses, I quickly learned to wait a few seconds before stepping off; the station name would first appear in German, then in French. More than once, I thought I had missed my stop, only to realize I just needed to wait for the second translation to scroll up. Even greeting people became a small daily dilemma; Guten Tag or Bonjour? Most locals smiled and said Bonjour, though hearing both in the same conversation felt completely normal.

This dual identity extends to the city’s institutions. The local museum, whose name translates to “New Museum,” is both Neue Museum and Nouveau Musée, depending on which language you read first. Walking through its exhibits, I couldn’t help but notice how seamlessly the two cultures intertwine.

Biel/Bienne’s bilingualism isn’t new; it dates back to the Middle Ages, though the city officially adopted its double name only in 2005. Today, “Biel” (German) and “Bienne” (French) stand side by side as a symbol of coexistence, a reminder that in this corner of Switzerland, two languages share not just space, but spirit.