Max Bill (b. 1908 – d. 1994) was a Swiss designer/artist/architect, a prolific design practitioner and a theoritician of the Concrete art aesthetic and Environmental design. He had served as an educator at several institutions at various points in his life and had also initiated the The Ulm School of Design in Germany in 1953.His works were derived from a mathematical approach to art and design without letting go of an imaginative use basic forms.
These ideas were made explicit in the critical text “die mathematische denkweise in der kunst unserer zeit”, werk, nr. 3, 1949 and were manifested in all his compositions in industrial design, typography and sculptures in public spaces.
His importance to modern art is attested to by the various awards and recognitions he had recieved in his lifetime.
“The mathematical approach in art is not actual mathematics.It is the design of rhythms and relationships.” (Max Bill)
“Art needs emotion and thought. (…) Thought makes it possible to order emotional values so that works of art can emerge from them. The primal element of any pictorial work is geometry, relating the layers in two or three dimensions. And so, just as mathematics is one of the essential resources of primary thought and thus of gaining insights into the world around us, it plays the same role among the basic elements of a science of relationships, the way one thing, one group, one movement relates to another, and because it enshrines these elemental things within it, and places them in meaningful relationships with each other, it is obvious that it will present such elements so that they will become image.” (Max Bill. 1949, quoted from cat. M.B., Locarno 1991, p. 104)
A list of critical texts attributed to Max Bill can be viewed here >>>.