RZ_MB_Poster_wbForm_2017_EN.indd 1

The beauty of function and as a function

The max bill collection is characterised by clarity, simplicity and mathematical precision.

For max bill, industrial design was of particular im- The phrase «beauty from and as function» from Bill’s portance in the economic upturn during the post-war legendary talk became a key statement. He opened up years and because of the widespread destruction left the rigid notion of functionalism by putting the forms of by the war: he saw industrial design as an opportunity everyday products into a larger context with the forms of to improve the environment with versatile products. both nature and the arts and by juxtaposing industrially Following the US example, the aesthetics of things produced everyday products with craft-based and tech- were becoming important during this period. For the nical objects. His major achievement was his call for a max bill’s wooden furniture is the physical expression rst time, exemplary products – most of which were «new beauty ideal»: harking back to Henry van de Velde’s of his belief that functionality, as well as the economy «anonymous» factory designs – were given a promi- concept of «rational beauty», which referred to «com- of materials and design, should be combined with nent place in the magazines. Authorities like max bill bining the rationalism of engineering with constructive meeting form-related and aesthetic demands. Bill’s and Siegfried Giedion had a clear attitude: they de- beauty,» Bill wanted things to not only function but also designs and products are based on qualities such spised any design that would only serve commercial look beautiful. The idea of an order immanent in form as functionality, longevity and an economic use of interests and that, in so doing, would follow fashion- was, throughout his entire life, the hypothesis on which resources. able trends, thus fostering a throwaway mentality. his work was based.

NEW

1 2 3 4 Stool Three Leg Chair Cross Frame Chair Bill Barstool 1954 1949 1952 1964

NEW

5 6 7 Three-Round Table Three-Round Table, low Square-Round Table 1949/1950 1949/1950 1949

1 The Ulm Stool was designed in 1954 by max bill, the MATERIALS: 3 The Cross Frame Chair was designed in 1952 and MATERIALS: 5/6 First designed by Charlotte Perriand in the 1930s, MATERIALS: fi rst director of the , in col laboration Natural spruce, crossbar and foot: has been produced ever since (since 1999 as a re- Seat and backrest: beech plywood, «tables en forme» became popular in the 1950s as Tabletop: linoleum, black, with Hans Gugelot. The stool was to be used by the beech (original) edition). The chair showcases Bill’s skills as a product legs: beech. kidney-shaped tables. Next to the free forms featured legs: solid maple, natural lacquer Available in natural spruce, in Available in three versions: fi nish, edging: maple. school’s students and was produced in the school’s lacquered walnut and in birch apple designer and has received several prizes, among Seat/Back/Legs natural fi nish in almost all famous examples, max bill’s Three- NEW Three-Round table low: joinery workshop, using donated wood. green, sky blue, dark blue, fi ery red, others «die gute form» (1950s) by the Swiss Werk- Seat/Back natural, Legs black Round Table, designed around 1949/50, appears Tabletop in olive and smoky blue. Lightweight yet sturdy, this versatile stool can be glowing orange, lemon yellow and bund. The cross-frame leg construction was invented Seat/Back/Legs black fi nish almost strict and precise. Its geometric shape is used as seating, as an occasional table or shelf, but NEW in black. by Bill. It supports the seat in the centre and gives constructed from three circles. Conceived in a low DIMENSIONS HIGH VERSION IN CM: DIMENSIONS IN CM: H/Ø 72/110 (picture 5) also as a transport container, serving tray or as an DIMENSIONS IN CM: the chair the greatest possible structural stability. H/W/D 78/48/52, Seat 46 cm and high version, the Three-Round Table marks a additional element set on top of a table. H/W/D 44/39,5/29,5 In terms of form, the contrast between the slim seat high point in max bill’s campaign for design reform. DIMENSIONS LOW VERSION IN CM: Weight: 2,1 kg and the sturdy frame accentuates the chair’s tech- H/Ø 44/110 (picture 6) nical construction, giving it a powerful and sculp- tural expression. And, last but not least, the chair is 2 The Three Leg Chair was designed in 1949 by max MATERIALS: extremely comfortable. 7 max bill designed the Square-Round Table in 1949 MATERIALS: bill for wohnbedarf Zurich – the originals are wanted Seat and backrest: beech plywood, for wohnbedarf Zurich. This piece embodies Bill’s Frame solid maple, natural or black rarity for experts. The original is in beech natural. legs beech natural, backlegs bent idea of in product design and is one of lacquer fi nish, tabletop: linoleum, black, solid wood edging maple This model was honoured by the quality seal «die his most important designs. The square-shaped gute Form». DIMENSIONS IN CM: 4 The Bill Barstool is a classic of its kind. max bill de- MATERIALS: table extends into a circular table by unfolding the DIMENSIONS IN CM: H/W/D 75/43,5/52, Seat 44 cm signed the stool for the «Bar du Théâtre» at Expo 64 Seat black leather, four-legged four leaves that then are supported by the table H/Ø/SQUARE 74/128/90 × 90 in Lausanne, where Bill was the architect responsible frame, chrome-plated frame. The resulting visual impression with its rhyth-

for the «Educating and Creating» section. DIMENSIONS IN CM: mic partitions is a prime example of Bill’s art. The new version of the popular Bill Barstool comes H/W/D 79/35/35 with four instead of three legs. The seat is padded

22.03.17 14:17 with soft black leather and the frame is chrome-plated.

wb form ag | CH-8001 Zurich, www.wbform.com RZ_MB_Poster_wbForm_2017_EN.indd 2

form is what we encounter in space

max bill, 1952 www.wbform.com Switzerlandwb formag|Zurich, CH-8001 pieces today. max bill diedon9December1994during avisittoBerlin. of manyprizes and honours.Manyofhisdesigns are still,orare again,sought-after Bill wasamemberofvariousassociations andcommissionswastherecipient theoretical defi nition of«constructive,logical, economical=beautiful». selectionofproductsThe bookincludedaninternational andfurniture that metBill’s A BalanceSheetofMid-Twentieth CenturyTrends inDesign»,abookeditedbyBill. design withthe«dieguteform–formeutilelabel».1952saw thepublicationof«Form: Following aproposal byBill,from 1951to1968, theSWBrecognised goodindustrial sub sequently alsoshowntogreat acclaiminGermany, AustriaandTheNetherlands. to introduce thetopicofindustrialdesign to alargeaudience.Theexhibitionwas to design«dieguteform(thegoodform)»exhibition,whichwas thefi rst exhibition For the1949SchweizerMustermesse(muba)inBasel,SWB commissionedBill watches fortheJunghanscompany, basedinSchramberg. known asUlmerHocker(UlmStool).Startingin1957,hedesignedvariousclocksand with twodifferent seatheightsaspartoftheschool’s furniture, whichhasbecome Table). Asco-founderandfi rst rector oftheUlmSchool,in1954,hecreated astool the Dreirundtisch (Three-Round Table) andtheQuadratrundtisch(Square-Round such astheDreibeinstuhl (Three LegChair),theKreuzzargenstuhl (Cross-frame Chair), In 1944,heredesigned thepatriatypewriter, followedbyvariouseverydayobjects Kienzle,tothenew generationofSwiss«industrialdesigners». Bellmann andWilhelm hisdesignsforindustry,in apublicexhibition.With Billbelonged,togetherwithHans claim. Itwasalsothefi rst timethattheoriginalformof«infi nite loop»wasshown Triennial, forwhichhereceived theGranPremio award ac- andmuchinternational designer andpublicist.In1936,hedesignedtheSwisscontributiontoMilan Zurich-Höngg, working,from thenonwards, asanarchitect, painter, sculptor, graphic Mondrian andGeorgesVantongerloo. In1932/33,hebuilthisownstudio-homein participating inthegroup’s exhibitionsandmeeting,amongothers,JeanArp,Piet In 1932,Billbecameamemberofthe«abstraction–creation artists»group inParis, estate, whichhadjustbeencompleted,aswelltherespective advertisingmaterial. designed the«HomeandStudioforaPainterIllustrator»inNeubühlresidential chures, advertisementsandstationery. Usingfurniturefrom wohnbedarf,Billalso design ofthecompany’s logo,whichisstillusedtoday, andfor thedesignofbro- wohnbedarf wasfoundedin1931.From thebeginning,Billwasresponsible forthe rewritten byBill. van Doesburgwasthefi rst toprovide adefi nition of«concrete art»,whichwaslater «bill –». income wasthedesignofadvertisingunderbrandnames«bill–reklame» and Schlemmer, PaulKleeandWassily Kandinsky. BackinZurich,hismainsource of included JosefAlbersandLászlóMoholy-Nagy(preparatory course),aswellOskar come anarchitect. In1927/1928,hestudiedattheBauhausinDessau.Histeachers ’s workand,afterattendingatalkbyLeCorbusier, Billdecidedtobe- 1927, hetrainedasasilversmithattheZurichSchoolofAppliedArts.Headmired on22December1908inWinterthur,max billwasborn Switzerland.From 1924to In 1930,hejoinedtheSwissWerkbund (SWB).Inthesameyear, Theo aspects ofhisknowledgeasaproduct designer. books candojusticetohisoeuvre. Thefollowinglinesare His biographyandworkare socomprehensive thatonly social order thatwouldallowahumaneworld. coherence ofthedesignedenvironment andfora world, forthematerial,intellectualandsocietal and ofsmallsteps.Hewasanadvocateforabetter Bill describedhisapproach asoneofresponsibility politician educator and sculptor, publicist, designer, painter, Architect, graphic 22.03.17 14:17