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Home , Deutscher Werkbund, Jugendstil, Peter Behrens

to advantage.” new technologies that accordwiththecharacter oftheobjectandthatshow forms -itisaboutcreating functional is notaboutdecorating “Design ern industrialarchitecture. sign, especially he was accepted as a pioneer of modern industrial design and mod de industrial and and design graphic painting, of works his with name a made He . in architecture modern develop to role influencel an has He German Architect 27, 1940,) (born April 14,1868,—diedFeb. Art and Technology (1910) PETERBEHRENS -PeterBehrens - - 1 Arch222 Presentation 16.03.2017 everything from the company’s logos and typefaces to its product design. He reached his reached material stylean becameafirstindustrialdesigner. He design. product its to typefaces and logos company’s the from everything design to upon called and adviser artistic an as AEG by appointed was Behrens - 1907 In movement andimprovesthe status ofGermandesignandindustry. English the with compete to deliberated was Werkbund,Crafts that and organization Arts an In 1907 - Behrens came together with ten other artists and designers to create the Deutscher In 1903-Hebecamedirectoroftheartsandcraftsschool in Düsseldorf. Colony, where hedesignedandbuilthisownhouse(HausBehrens) Hesse- Artists’of Ernst-Ludwig Grand-duke the by invited was Behrens - 1899 In In 1893-HewasafoundingmemberoftheMunichSecession. art movementJugendstil(German ) In1890 - In , He began to career of painter, in this period he joined a Munich’s popular schule inKarlsruheandtheDüsseldorf Art Academy. Kunst the attending before Germany in crafts and arts of renaissance the of time the during 1897 in Munich to went plied Behrens Hamburg, at school Arts). arts fine the attending After the Ap for (School Hamburg at studied Behrens - 1889 to 1886 From - -

2 Arch222 Presentation 16.03.2017 Henry van deVelde -FurnitureDesign like other Art Nouveaustyle. Die Jugend (in German, means that Youth) which was focused the decorative art journay artistic Munich the from taken was name War.WorldIts untill mid-1890s continued during intransitived which German in style artistic a was Jugendstil (German Art Nouveau) mental. senti and naturulistic like appeared works art themes, art folk and forms natural on drawing on based basicly was style floral Velde.The de van Henry designer prints, second phrase is more abstract in the manner of the Belgian architect and by floral motifs was be established in English Art Nouveau and Japanese arts and dominated design decorative one first Jugendstil, the of aspects two were There -

3 Arch222 Presentation 16.03.2017 rens. Beh and Obrist Endell, by workplace the in seen metric transformation of the floral style began to be geo abstract, more the time, this designs. At their Behrens, they worked closely with the producers of Peter and Paul, Bangkok, Riemerschmid, Endell, Obrist, affordable. products many making terparts, coun British their of that than ornamentation less to more simplified, functional design approach with led technologies.They new of development the for designs appropriate create to tried had they but od ists did not deny mass-production trend in this peri crucial for the high standard of design. German art was construction’ ‘honest and purpose’ for ‘fitness movements, the approaches of William Morris were Crafts British of example the In markets. national inter for competing for products German improve to desire and design industrial in interests growing with Germany,clashed in it arts the of movements other like Jugendstil, of center main a was Munich ------4 Arch222 Presentation 16.03.2017 The Kiss-PeterBehrens in thisdesignhis affinitywithJapaneseartis obvious.” drawings likethe delicatesketchofbutterflies alightingonlilypadsframed byrushesand As statedbySchmutzler(1962, p.205)“hisearliestworksinJugendstilareornament twisted together and transformed into transformed and twisted together are women two of hair the Kiss The woodcut his in example For middle. the in illustration the always with connected is border the of theme The border.the surrounded has lustration il the woodcuts, Behrens’s in Also, orna mental andmoderniststyle. organic, in created were that elements curved in flowing with deal Behrens’ 1898 The Kiss had a similar - - Butterflies on Water Lilies-PeterBehrens 5 Arch222 Presentation 16.03.2017 oeet lk Smoim n . and Symbolism like movements century 20th early anticipating thus styles, expressive more as well as art abstract of modernist forms prototype Their included painting of subject. style the to proach ap multidisciplinary a adopted and generally design, and art, art decorative of including types all and Munich championed the Arts Britain, the in Movement and Crafts Morris William Like Munich Secession -

6 Arch222 Presentation 16.03.2017 Peter Behrens’ HouseInterior loss anddrewsomenegativecriticism. financial a made exhibition the However, exhibited. were that houses own their designed for artists to opportunities financial provided Ludwig Ernst together. brought were Olbrich Maria Joseph and Huber Patriz Habich, Ludwig Christiansen, Hans Bosselt, Rudolf Bürck, Paul Behrens, Peter Darmstadt: in Nouveau Art the of artists Several design. progressive identity, design reform national and economic success of was consistent with conjunction the idea identity.This of contemporary German of sense a with arts decorative and applied contemporary the enriching and taste public German improving for practice arts decorative Jugendstil artists. His aim was made Darmstadt leading center of architectural, design, and of group a with colony the founded Hesse of Ludwig Ernst Duke Grand the Darmstadt, In Darmstadt Artists’ Colony Plate designed byPeterBehrens Wedding towerinMathildenhöhe inDarmstadt 7 Arch222 Presentation 16.03.2017 helped to inspire. eventually he that modernism the towards and styles decorative from away step first Behrens’ be to style down stripped tere, aus more its consider Many norms. veau from Nou deviates Art it which in way the of its features, but it is more remarkable for some in Nouveau to Art indebted is - ture of architec work first Behrens’ - building resulting The finishes. and materials, sive of his earlier design output, utilized expen much characterized had that forms veau Nou Art flowing more the from away ing mov although which, interiors and tings, fit , his for Exhibition Darmstadt 1901 the at attention critical widespread paintings, pottery, etc. The house receiving towels, furniture, including interiors the all ture and built his first house. He conceived architec to turned painter a as trained ly original was who Behrens colony, the In Peter Behrens’ House ------

8 Arch222 Presentation 16.03.2017 by theworkandteachingsofWilliamMorris. attracted and influenced student, art an initially was Behrens to seems vernacular. Clearly and Crafts movement...with elements such as the high-pitched roof drawn from the German pression was unusual, particularly for its combination of features drawn from the English Arts While this format was quite typical for a small bourgeois’ house, its internal and external ex Red House-William Morris - Peter Behrens TO LIFEMUST ATTAIN BEAUTY.” “EVERYTHING THAT BELONGS

9 Arch222 Presentation 16.03.2017 man andmodern. Ger recognizably once at high-quality,were in that lay products design machine-made German for forward way the believed Muthesius (1904-5), House” English “The book his In Morris. Velde, William de by van influenced Henry were and Muthesius Hermann architects leaders, intellectual group’s The questions.” pertinent to attitudes united and propaganda, education, through crafts, the and industry art, of cooperation the through nation. The goal of the the was “the of improvement of standing professional work economic international and life of quality the improve will art) folk also (and quality high of art the that belief the on built are established workshops Jugendstil myriad The approach. modern more a for desire the with born was ar industry chitecture and design better to industry, craft the in efficiency greater Werkbund, Deutscher The DeutscherWerkbund - -

10 Arch222 Presentation 16.03.2017 industry. and art connection first assumed be could AEG in work His functionalism. to from decoration and design, industrial to arts applied from transition the make to him allowed AEG for commission His design. industrial of art the in invest to firm first identity.the was AEG corporate complete AEG’s masterminded Behrens logos. and advertising buildings, and products electrical used daily designed Behrens bulbs. light and appliances, generators, em ployed an was artistic director Behrens of the Peter firmWerkbund, AEG.Deutscher AEG producedthe a broadof range offormation devices suchthe as as year same the In AEG - like a birthday present. external appearance. A motorought tolook scrutinize it.Even hebuysbecauseofthe he buysamotor, takes ittobitsinorder Don’t thinkthat evenanengineer, when equal importance: ForBehrens,formandfunction wereof

11 Arch222 Presentation 16.03.2017 was considered appropriatestyle. designs. It had a design completely new and neo-classical concept inwherethe neo-gothic The AEG Turbine Hallpointthebeginningof newindustrialaestheticsof minimalistic neers aboutmaterialsandstructural aspects. building. As asuccessfularchitect,hewasalsoanuntrained engineersohereliedonengi with engineerstouseless,but largerbeamframesthanthosewidelyusedinsuchalarge He wantedtomakeinteriorand exteriorspacesassimplepossibleandcooperated This monumentalwasdesigned incollaborationwiththestructuralengineerKarlBernhard. The windowdesignhasenabled theinteriortobeilluminatedwithallnaturallight. rectangular structure,approximately122meterslong,40 wideand26meterstall. on rectangularandcircularformstheessentialoutline of thefactory—asteel-frame A structurecompletelymadeofiron,glassandconcrete. The designofthefactoryisbased nection withthearchitectureofantiquity. a result,Behrenspointsthatfunctionalmodernindustrial buildingcanstillhaveacon steel columnsandapolygonaltympanum,allofwhichgive thebuildingaclassicalfeel. of theiron-and-glassstructureisgivenextrasolidityby additionofmasonrypylons, use ofmodernmaterialsandbuildingtechniquestoclassical proportions. classical temple.Behrenssucceedtocombinefunctionality andelegance,matchingthe stain traditionalarchitecture,withsolidgableendsandcorner wallsrecallinganabstracted In 1909,Behrensdesignedhisfirstfactorybuilding. Thedesigndoesnotcompletelyab AEG Turbine Factory Also, thefacade - - As - 12 Arch222 Presentation 16.03.2017 ings demonstratedhisbeliefthat abuildingcomplexmusthaveheavymassiveness. From 1922to1927hewasprofessor atthe Academy ofFine Arts inVienna. Hislaterbuild Farbwerke atHöchst(1920–24). The Mannesmann-Werke inDüsseldorf (1911–12) Tobacco Factory. , Austria, (1929-1935) Franz-Domes-Hof, Vienna, Austria, 1928 Winarsky-Hof (withJ.Frank,Hoffmann, O.Strnad,Wlach),Vienna, Austria, 1924 Office buildingoftheHoechst AG,Frankfurt,Germany, (1920-1925) I. G.FarbenCompanyBuildingatHöchst(1920-1924) The GermanEmbassyinLeningrad(1911-1912) (redesigned) The CunoHouse(1909-1910) The SchröderHouse(1908-1909) The LargeMachine Assembly Hall(1911-1912) The SmallMotorsFactory(1910-1911) Other Works -

13 Arch222 Presentation 16.03.2017 for artitshouldbetransformed easily. As anationalist,heexpectedGermanydevelopedwiththese ideas-technologyandart-. not beunaffected,especially should technology for theirtogetherness), (not aproblem art andtechnology between the difference Although intellectually refineddesign” by will worktowardagoal:the poweroftheGermannation,whichrevealsitselfinarich materiallifeennobled art andtechnology “Nor, however, do wewantatechnology that goes itsownway, but one that is receptiveto the artisticwillof the age.In this way, German “By theirnature,artandtechnologyarequitedifferent,this innowaylessensthelegitimacyofviewthattheystillbelongtogether contact withtechnology.” “Our most serious task, therefore, is to help technologyto achieve artisticquality, art at to the sametimehelping great achievementsthough versial issue. be integratedculture. Maybeinthistimetechnology,should the ideathat technology He defended and contro becameanunderstandable nized asthemostrefinedmeansofachievingaculture. A mature culture, however, speaksonlythroughthelanguageofart.” “Technology cannot permanently be understood as an end in itself, but gains in value and significance just at that point at which it is recog and TechnologyArt .” - - 14 Arch222 Presentation 16.03.2017 disciples, GropiusandLeCorbusierbytheskyscraper architectureofhispupilMies. his of Style International the by implemented properly only was vision modernist his But glass. and steel like materials new of use full made and features modernist numerous incorporated designs industrial monumental his otherwise but designs, his in motifs historical tecture designed for the modern age, free of historical elements and associations. In fact, as mentioned above, he retained a number of archi is, that architecture: modernist of pioneer a was - Rohe der van Mies and Corbusier Le Gropius, pupils his like rather - Behrens - 15 Arch222 Presentation Şeyma Akcan 16.03.2017