It’s not often that a quiet, idyllic village like Erberich, located near Cologne on the western edge of the Bergisches Land, boasts a significant piece of Bauhaus architecture. Yet, nestled among the forests and fields of this small town is the Fleckhaus, one of only four buildings in Germany designed by the celebrated Swiss Bauhaus architect Max Bill. Built in 1961, the Fleckhaus is a testament to Bill’s modernist philosophy and his collaboration with Willy Fleckhaus, Germany’s first art director. Known affectionately as the “shoebox” by locals due to its clean, rectangular form, this house is more than a simple residence—it is a significant dialogue between architecture, design, and function.
Fleckhaus House Technical Information
- Architects: Max Bill
- Location: Erberich, Odenthal, North Rhine-Westphalia, Germany
- Client: Willy Fleckhaus
- Garden Area: 2,500 m2
- Private Forest Area: 13,000 m2
- Project Years: 1960-1961
- Photographs: Images via Techne
The aim of my work is to create clear, practical, and precise forms whose design is both beautiful and usable.
– Max Bill 1
Fleckhaus House Photographs
The Fleckhaus House Architectural Dialogue
The Fleckhaus is one of two family homes designed by Max Bill in Erberich, both showcasing his signature blend of Mediterranean architectural influences and modern technical construction methods of the 1920s. The two houses, situated side by side, form a conceptual pair that speaks to Bill’s exploration of form and space. While both homes share common design elements, such as exposed brick, white-painted window frames, and visible concrete ceilings, they differ in their spatial configurations. The Fleckhaus itself is characterized by a ground floor that extends much farther than the upper level, creating covered loggias and a dynamic interplay between the structural ceiling panels and the walls. In contrast, the neighboring house is a solid two-storey cube, with its first floor supported by a minimal steel column, emphasizing openness through frameless corner windows.
This juxtaposition between the two structures creates an architectural dialogue—a thesis and antithesis—within Bill’s design language. The interplay between contained and uncontained spaces reflects Bill’s architectural philosophy, which was heavily influenced by the teachings of Le Corbusier and the Bauhaus.
The Architectural Legacy of Max Bill
Max Bill, deeply influenced by his time at the Bauhaus in Dessau, carried forward the school’s emphasis on uniting form and function. His approach to architecture was to simplify the construction process using prefabricated, standardized elements, creating buildings that were both functional and visually unpretentious. His architectural style, as seen in Fleckhaus, demonstrates a keen understanding of materiality and structural clarity, which aligns with his work in graphic design and typography.
Bill’s fascination with Le Corbusier and other modernists is evident in his design of the Fleckhaus. The use of exposed brick and concrete, paired with minimalistic lines, exemplifies Bill’s commitment to functional beauty—a concept deeply rooted in the Bauhaus philosophy. His seamless integration of structure, light, and form speaks to his vision of architecture as a rational and elegant discipline, with the Fleckhaus as a prime example of his ability to balance utilitarian elements with aesthetic appeal.
Willy Fleckhaus: The Creative Force Behind the Home
While Max Bill brought his architectural vision to life in the Fleckhaus, its co-builder and resident, Willy Fleckhaus, infused it with creativity and life. As one of the most influential German graphic designers of the 1960s and 1980s, Fleckhaus’s work was known for blending rational structure with American-inspired editorial design. He was instrumental in shaping the look of iconic publications, such as the magazine twen, where he served as art director.
The Fleckhaus became a hub of creativity and collaboration. Its serene location in the Bergisches Land belied the flurry of activity inside, where editorial meetings for twen would continue late into the night. Photographers, designers, and journalists gathered at Fleckhaus’s home to create, debate, and refine the magazine’s content. In later years, under the care of Fleckhaus’s daughter, Nelly, the home evolved into a cultural center. Visitors from far and wide came to experience the architecture and creative atmosphere, with the expansive garden and private forest serving as a unique exhibition space for artists and musicians.
Fleckhaus House Plans
Fleckhaus House Image Gallery
About Max Bill
Max Bill (1908–1994) was a Swiss architect, designer, painter, and sculptor renowned for his contributions to modernism and his multidisciplinary approach. A Bauhaus graduate, he studied under prominent figures like Paul Klee and Wassily Kandinsky, which shaped his design philosophy centered around simplicity, functionality, and mathematical precision. Bill’s work spanned architecture, industrial design, and typography, and he is celebrated for his ability to integrate form and function seamlessly. Notably, his watch designs for Junghans reflect his Bauhaus ideals, embodying minimalist aesthetics, precision, and timeless elegance. These watches remain iconic examples of his ability to blend art and utility.
Notes & Additional Credits
- Bill, Max. Form: A Function of Beauty. Lars Müller Publishers, 2014.
- Droste, Magdalena. Bauhaus, 1919-1933. Taschen, 2006.
- Fleckhaus, Willy. Willy Fleckhaus: Design, Revolt, Rainbow. Kerber Verlag, 2017.
