Max Bill and Bauhaus 100
- 时间：2019年11月01日 星期五 18:30
- 地点：Haus Bill, Rebhusstrasse 50, 8126 Zumikon
- 导览：Dr. Angela Thomas Schmid
- 海报：Sonja Zagermann
- 摄影：Raphael Kunz
- 英语报道：Tian Chiang
On November 1st the SCAA was invited to a private tour through the expansive house of Max Bill (1908-1994), the home of his second and last wife Dr. Angela Thomas and her husband, film director Erich Schmid.
11月1日，SCAA受邀参加了Max Bill（1908-1994）故居的私人导览，该房子目前是Bill第二任也是最后一任妻子Angela Thomas博士及现任丈夫，电影导演Erich Schmid的家。
Up in Zumikon in 1967-68, Bill created a complex building on a slope with large garden terraces facing the forest. Each of the 36 rooms is unique and has been filled with little stories. Visiting the building feels like a treasure hunt on more than 1200 m². Especially architects tend to get lost when visiting Haus Bill for the first time. There are various split levels, floors allow infinite circulation and rooms follow a secret choreography. But the whole conglomerate has a simple underlying logic: It is forming a geometrical square composed by the two legs of an L-shape and the oldest tree in the surrounding forest. Inside, a practical industrial clinker tile floor is omnipresent and has a natural earth color that reflects a warm glow on people’s faces in daylight. The SCAA was only visiting on an evening tour but Angela and Erich enchanted the audience with their own glow.
Angela literally took her guests on a tour through space and time and had enlightening anecdotes to tell in each room. It seemed like every corner of the house had little treasures to reveal, be it an artwork by Hans Arp in the kitchen or a granite sculpture by Bill in the bedroom. Various paintings on the walls speak about the time when Max Bill was principal of the Ulm School of Design in Germany after the Second World War. They recall the friendships with important characters of the Bauhaus era and significant artists, like Josef Albers, Donald Judd, Fritz Glarner. One of Max Bill‘s offices was only for telephoning purposes. It is topped by an 18.7 m long composition by Keith Haring that Bill bought just one year before his death.
比尔故居的每个房间都有着有趣的轶事，Angela彷佛带着我们进行了一次时空漫游。似乎每个角落都有珍贵的故事，无论是厨房里Hans Arp的艺术品还是卧室里比尔的花岗岩雕塑。墙上的绘画讲述着二战后比尔担任德国乌尔姆设计学院校长时期的故事。他们令人回想起比尔与包豪斯时代重要人物和艺术家之间的友谊，比如Josef Albers、Donald Judd、Fritz Glarner。比尔还有一个仅用于打电话的办公室，里面有一个Keith Haring长达18.7 m的作品令人印象深刻，这是比尔在去世前一年买的。
The grand living room lies one level lower than the entrance. The cosy Corbusier seating group at the fireplace, the large Saarinen table and the modern Prouvé recliner can be moved aside to make space for up to 110 people on occasions.
Moving another floor down, you find the painting room – the only one with wooden flooring. It is oriented Northwards to provide best lighting for the painter Max Bill. Nowadays a marble sculpture, made from the same sort of marble Michelangelo once used, hoovers on a pedestal on one side of the room. On the other side, an “infinite surface” metal sculpture pays homage to Bach‘s Mirror Fuges, a reminder of Bill‘s love for music.
In yet another room he lived his life as a graphic designer. It is filled with books, some of which Max Bill also edited. He even had a Kandinsky book translated into Chinese.
这里甚至还有工人房，如今是Erich的电影编辑工作室。他和Angela正在20个国家/地区巡回展出他的最新电影《Max Bill – Das absolute Augenmass》。
Being without a school degree or any finished academic diploma, Max Bill learned most of his architectural knowledge from Mart Stam‘s lectures on statics at the Bauhaus. Bill‘s first house was built in Höngg, Zürich in 1933. More than 30 years later, he built his second and last home with a village in mind. There are narrow alleys, grand spaces and surprises around the next corner. Constructive-wise he followed Bauhaus principles: simple, reduced, functional and rational. But he also followed his personal credo: that beauty had a function of its own. Thus he created the most beautiful living and working space for whoever would come to live and visit Haus Bill.