for Even the son of a rich Hamburg’s Senator of the family it has brought Peter Behrens (1868-1940) very far, with the inscription “to The German people” at the Reichstag building, was by him (and his student Anna Simons). After studying art in Düsseldorf, Karlsruhe and Munich, he also designed clothes, furniture, Cutlery, glasses, posters, and corporate logos – all in the art Nouveau style. He was a co-founder of the Darmstadt Jugendstil colony and of the German Werkbund.
Some is Behrens as the inventor of the Corporate design, because he is shaped as an “artistic Advisor” from 1907 to 1914, the products and the overall appearance of the Allgemeine Elektricitäts-Gesellschaft (AEG). In any case, he was a talented painter, graphic artist and Designer. But most of all he was an architect. And what for a. The man had a degree in Architecture.
For the large German industrial groups, he has designed the commercial building, no art Nouveau, but no-frills monumental buildings. Today, they are monuments of a bygone factory, landscape, and show him as a pioneer of the Baumoderne. In Behrens Berlin architecture office met at that time, the modernist, Walter Gropius, Le Corbusier and Ludwig the most Mies van der Rohe.
Of him, among other things, the Berlin turbine hall of the AEG (1909), the Mannesmann-Haus in Düsseldorf (1912), the management of Continental AG in Hanover (1914), and the building of National automobile company in Berlin-oberschöneweide (1917). The most fascinating Behrens-Bau (1924) is likely to be the former management of Farbwerke Hoechst in Frankfurt. A, up to the smallest Detail well thought-out total work of art in its design, formula, revealed: “large-scale members, in clear Contrast to the uniform ranks”.
the facade of The 185-Meter-long brick building is broken up by different colored bricks, is divided the building into three elements: two office wings and a Central entrance building with a tower and bridge. They formed the gateway to the factory and to the then independent city Maximum. From 1947 to 1997, the tower and the bridge, also the company logo of the Hoechst AG ed.
members, in contrast, ranks Hoechst: a Former management of the colour works.
The outstanding example of brick expressionism, was in the twenty years, especially in Germany, a short flowering, is Inside the building but also by its extravagant, and perfectly suited to the former purpose of the company-coordinated. The exhibition hall in which to be issued the beginning of color products and, later, the telephone switchboard were housed – was added in 2007, in the Behrens-version of the original: the walls glow red, the six pillars of green and cobalt blue. The light shining through stained-glass Windows with motifs of the Dutch Artist group De Stijl.
When Entering the room the visitor looks at a memorial for the fallen in world war I workers in the company. “On the move” called the Behrens commissioned sculptor Richard Scheible, his figure of a worker who rolls up the Sleeves. Behrens built just sites that he built to a better future. It was important to him that the art and craft and come under the electrically-driven wheels of industrialization.
art lights as a top priority
From the floor plan on handrails, door handles, Windows, and mosaics up to the crystals style ceiling in the entrance hall, Behrens has designed nearly everything themselves – and much of it hand-finished. The most impressive of the artist in the architect but in the entrance hall, with its three glass domes. He has designed each from the ground floor open and visible floors to the top, tapered lower. Even the lamps matched Behrens, the size of each floor, in order to make the optical illusion is perfect: The hall effect is significantly higher than their actual 40 meters.
Also acoustically wanted to impress Behrens, the employees of Hoechst AG. But because the money was not enough, could be sent to the Carillon in the tower never. Otherwise, it would have meant the workers with a melody from Wagner’s Lohengrin.
DISPLAY Peter Behrens:
timeless and time-moving – essays, lectures, talks, 1900-1938
Dölling & Galitz; 1152 pages; 79,- Euro
Behrens not only built, he grappled theoretically with the architecture. Some of it he has recorded in quite amusing writings. 2015 commented appeared complete edition of his writings, which explains a lot of things. In other areas of 1868 in Hamburg-born All that remains-a designer but a Phantom.
in his Studio the same time as buildings in the style of neo-expressionism and New objectivity were designed, can explain Thorsten Scheer because of the big freedoms of the “project Manager”. The Professor for history and theory of architecture at the Peter Behrens School of Architecture in Düsseldorf, Germany said: It was not necessarily Behrens personally for each building in a leading role. As a later employee explained, for example, once, he had seen the architect, never with a pen in Hand.
Scheer describes Behrens as indifferent: “In the time of national socialism, as he is working on a neo-classical Protzbau for the AEG to spear Large axis, while he was there, in his last project, the Good Hohenlanke, even against the local representative of the NSDAP for his intentions had to fight.” This sausage impairment, however, is typical for job-based architects. At least in this respect, Peter Behrens was not the exception but the rule.