[Nov.01.2019] Max Bill and Bauhaus 100 马克斯·比尔包豪斯一百年

Max Bill and Bauhaus 100

马克斯·比尔包豪斯一百年

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
中文报道：杨晴川

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.

1967至68年间，比尔在Zumikon的一个山坡上建造了这座综合体住宅，住宅面向森林，还有一个花园大露台。36个房间中每一个都独一无二，讲述着不同的小故事。参观这座建筑就像在1200平方米的大房子中寻宝。有趣的是建筑师在第一次访问比尔故居的时候，往往特别容易迷路。里面有许多不同的楼层，互相循环交错，彷佛遵循着秘密的编排。然而其编排的奥秘其实很简单：房子L形的两条腿和周围森林中最古老的树能组合成一个完整的几何正方形。房子内部工业材料比如瓷砖地板无处不在，瓷砖是自然的大地色，在日光的反射下在人们脸上映射出温暖的光芒。这次SCAA导览虽在夜色中进行，然而Angela和Erich自带迷人的锋芒照亮了所有参观者。

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.

大客厅较入口层低一层。厅内壁炉旁是昂贵的柯布西耶座椅套件。Saarinen桌和Prouvé躺椅可移至一处，如有需要的场合这里便可容纳110人。

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.

从大客厅再往下一层便是画室，全楼唯一的木地板房间。房间朝北，为画家比尔提供了最佳的照明环境。这里的大理石雕塑摆放在房间一侧的基座上，此种类的大理石米开朗基罗曾经也使用过。房间另一面“无限表面”金属雕塑向巴赫《赋格的艺术》致敬，显示了比尔对音乐的热爱。

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.

在另一个房间里，他的身份是平面设计师。房间里摆满了书籍，部分比尔也参与了编辑。他甚至还安排将一本康定斯基的书翻译成了中文。

In her bedroom with an iconic orange bed, Angela keeps little souvenirs and a painting by Bill from 1948, the year she was born in. She overlooks the garden, which is filled with sculptures of her late husband and other sculptors. Max Bill only created monuments for people who had been forced to emigrate due to the persecution of Jews, like Ernst Bloch, Albert Einstein or Arthur Lejwa. For the latter he created “Four Cubes cut into halves which make eight elements” in Jerusalem, which rests close to the King David Hotel since 1985.

在Angela具有标志性的带有橙色床的卧室里，保留了一些纪念品和一幅比尔在Angela出生年份1948年创作的画作。她俯瞰花园，花园里摆满了已故丈夫和其他雕塑家的雕塑。比尔仅为因迫害而被迫移民的犹太人创造纪念碑，比如犹太人Ernst Bloch、Albert Einstein或Arthur Lejwa。他为后者在耶路撒冷创作的“将四个立方体切成两半，分成八个元素”的作品，自1985年以来便位于大卫国王饭店附近。

The basement houses an earth heating system, a tropical house for the plants from the garden and another room full with design prototypes of chairs, lined by architectural books from Bill‘s Zurich offices.

There even is an annex where former domestics were living – nowadays a film-editing studio for Erich. He and Angela are touring 20 countries with his latest movie “Max Bill – Das absolute Augenmass”.

地下室有地暖系统，一个供花园里植物使用的热带温室。另一个房间中摆满了椅子设计原型，上面摆满了比尔苏黎世办公室的建筑书籍。

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.

比尔没有获得任何完成的学术文凭，他从Mart Stam在包豪斯（Bauhaus）进行的讲座中学到了大部分建筑知识。他的第一所房子建于1933年，位于苏黎世Höngg。30多年后，他建造了第二座也是最后一座房子。像村庄一样，这个房子有狭窄的小巷、宏大的空间和拐角处的惊喜。在建造方面，他遵循了包豪斯的原则：简单、简约、功能和理性。但他也遵循内心的信条：美循序其自然功能。因此，他为有幸来拜访这座房子的人创造了这些美丽的生活和工作空间！

“mit subversivem glanz, max bill und seine Zeit”, Angela Thomas

“das absolute augenmass”, Film by Erich Schmid

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