Architect Peter Behrens

The purpose of this analysis is to identify, define, and explain. It is a three circumstances analysis that as well has an Introduction and a Conclusion. The first section discusses the diachronic Background of the Architect, bill Behrens. Behrens was born in Ger legion(predicate) where he make a signifi stoolt contribution to the industry field. He brought the dahs of expressionist, industrial classicalism, Jugendstil, and transnational current mood to his masterpieces. In fact, these dashs ar explained in section two which is the Critical Analysis.Behrens grammatical constructions, Behrens domiciliate, A. E. G. lofty Tension pulverisation, I. G. Farben Offices, and newly Ways ar assigned particular styles based upon the way they were instaurationed and the year in which they were built. The final section is the Building Analysis. Additional details be given for the Behrens plate. These details are in terms of pettiness, criticism, and create for the beats. est ablish upon the findings of this in fixation, a Conclusion is drawn. Historical Background of the Architect shit Behrens was earlier from Hamburg, Germany. He was born in 1868.Behrens first profession was as a painter. However, graphic and applied arts appealed to Behrens more. Thus, he re-channeled his energy to those areas and steered away from painting. In 1899, an invitation to attend the artistic creationists Colony in Darmstadt en qualifiedd Behrens to establish a leadership usance there. Yet, he would non stay put for long. Behrens next venture was in Dusseldorf where he was employed as the Director of the Kunstgewerkeschule. It was an interim position that sparked Behrenss interest in adding a crotchety geometric abstraction to his have ( calamus Behrens? 2007). The 1890s was the age period when Behrens was located in Munich where he was employed as a painter and graphic artist. It is also when Behrens gained social status into the Jugendstil trend. However, it was not until 1893 that Behrens became one of the co-founders of the Munich Secession. Additionally, He produced woodcuts, colored (sic) illustrations, designs for book bindings and crafts objects entirely determine by the Jugendstil plantal language (Biography scape Behrens n.d. ). Artists and architects such as Augst Endell, Bernhard Pankok, Bruno Paul, Hermann Obrist, and Richard Vereinigte united forces with Behrens in 1897 to find the Vereinigth Werkstatten fur Kunst und Handwerk in Munich to produce handmake functional objects (Biography ray of light Behrens n. d. ). These contributions to society were just as the excogitate utilitarian means functional, practical, and down-to-earth. Consequently, Behrens displayed humbleness in his earn as well.This lieu may also have been straightfor state of ward when Behrens joined forces in 1898 to design Pan, a Berlin journal as well as when he fashioned the first of his furniture designs (Biography Peter Behrens n. d. ). At the kindred time that Behrens was creating unique architecture that stirred up a plentifulness of gabble and criticism, he was knee-deep in leadership roles. For example, In 1899 Peter Behrens was appointed by Grand Duke Ernst Ludwig of Hesse-Darmstadt to the Mathildenhohe artists colony the Grand Duke had just effected in Darmstadt (Biography Peter Behrens n. d. ).Naturally, having a position of such this dullard outmatchowed upon him by such a high prestige, this meant that Peter Behrens had earned respect, in addition to this honor, in the eyes of the Grand Duke. This could have been the reason why Behrens felt it time to build his own headquarters. Designed as a total work of art, Haus Behrens caused quite a stir Behrens himself knowing the architecture and the indoor with all its appointments and furnishings down to the last detail (Biography Peter Behrens n. d. ). Accordingly, Behrens was able to implement the Expressionistic style into his home.Perhaps this national-cr eativeness is what caused the AEG to bring forth interested in Behrens. The time between 1907 and 1914 led Behrens life to Berlin where he became an artistic advisor to the AEG. It was during this period in his professional career that Behrens became known as the mortal who created the worlds first corporate image (Peter Behrens? 2007, par. 2). Remarkably, Behrens work with the AEG was when he displayed a keen interest for designing architectural pieces that utilised the form and material found in the industry field. moreover, Behrens work helped pave a path for another(prenominal)s to follow. Therefore, he can be considered a name figure in the transition from Jugendstil to Industrial classicism. He indeed played a central role in the evolution of German Modernism (Peter Behrens? 2007, par. 3). During the time frame between 1922 and 1936, Behrens was headmaster to the Vienna Akademie der Bildenden Kunste which is an architecture incision where he also taught (Biography Pet er Behrens n. d. ). As a result, Behrens was able to play a significant part in the way Germans (and people, in general) perceive architecture.Furthermore, Behrens designed china, glass objects and patterned imoleum flooring for various companies. angiotensin converting enzyme of his last commissions, in 1938, was to plan a new AEG headquarters in Berlin (Biography Peter Behrens n. d. ). This was, of course, all accomplished before Peter died in Berlin in 1940 (Peter Behrens? 2007, par. 4). Fortunately, Behrens was able to put many of his ideas into his architecture. In addition, he was able to demonstrate a high level of skill and technicality in his work. Critical Analysis One of Behrens first whole kit and boodle was the Behrens House.It was designed in 1901 and is located in Darmstadt, Germany. The dramaturgy is known for its fine eat rooms and music appeal. Its outline is one of the normal formats for a itsy-bitsy burgeois house (Behrens House 2007, par. 1). However, its internal and external expression was unusual, particularly for its conspiracy of features drawn from the English Arts and Crafts movementwith elements such as the nasal roof drawn from the German Vernacular (Behrens House 2007, par. 1). In this sense, the al-Quran vernacular gives a strong indication that the German culture was evident in Behrens works.Vernacular is just another term for the countersign language. Thus, the Behrens House is characteristic of the Expressionistic style (explained later) as well as of Industrial Classicism which is basically an ideology in which human beings and machines can coexist. In this case, the word machine refers to twists. Another of Behrens works is A. E. G. High Tension Factory (2007). The building was designed in 1910 and is located in Berlin, Germany. It is an industrial plant made of glass and iron. When Behrens created the building, he was able to incorporate a very unique and different look to it.Behrens achieved a plastic effect an d a high-energy form of construction of the trusses, which were pulled towards the outside, as well as through the tapered iron trusses and the glass areas which were drawn towards the inside (A. E. G. High Tension Factory 2007, par. 1). This look aroused many other architects and caused them to criticize Behrens. In fact, Luduig Hilberseimer wrote Peter Behrens is led astray by the imperialistic power consciousness of the prewar years and re change formed by classical influences, and he thinks to add a facade to his turbine hall of the AEG at Moabit, an otherwise terse structure (A.E. G. High Tension Factory 2007, par. 1). However, Behrens work really demonstrated Expressionistic, Jugendstil, and Industrial Classicism styles. Yet, it was also represented of the foreign Modern Style. Did knowing these things stop others from criticizing Behrens works? No. Another architect also had strong words to rank about Behrens. In fact, Erich Mendelsohn criticized the building A. E. G. Hig h Tension Factory He pastes over the expression of tension, which the hall creates, with the rigidity of a repeatedly befuddled temple tympanon (A. E. G.High Tension Factory 2007, par. 1). However, this meant the work was characteristic of the Expressionistic style. This style was A movement in the arts during the early part of the twentieth century that emphasized subjective expression of the artists inner expressions (Peter Behrens? 2007). Of course, the expressionistic style occurred around the World War I era. Perhaps the strains of the war created a stir within the architects souls because Behrens was not the only artist to take up this style other German architects did as well (Peter Behrens? 2007).Consequently, maybe that is why slightly architects saw the dish in Behrens masterpiece. Le Corbusieradmired the structure as being a charged center, which represents the integral architectonic creations of our timerooms with admirable moderation and cleanness, with magnificen t machines, which set solemn and impressive accents, as the center of treat (A. E. G. High Tension Factory 2007, par. 1). This means that Behrens architecture was both Jugendstil and Industrial Classicism. Jugendstil is a cross between Art Nouveau and other unique styles (Jugendstil 2007).Art Nouveau is specify as a new form, an original artistic and decorative movement inspired by the idea of total art (Introduction to Art Nouveau 2007, par. 4). Behrens also put Jugendstil and Industrial Classicism styles into his offices. The I. G. Farben Offices were designed between 1920 and 1925. In fact, these buildings are located in Frankfurt, Germany. Behrens used brick masonry as the construction corpse for these commercial offices. He followed the Dutch Expressionist Modern style as well.This type of architecture was symbolic of both the theatrical play of groundless as well as the constitutionatic use of slanting rafters which coiffe to disrupt the overall rectilinearity (I. G. Fa rben Offices 2007, par. 1). Consequently, this building was reminiscent of the Expressionistic style as well. Again, in this style the artist puts his titty into his work. One of Behrens later masterpieces was New Ways. In 1926 Peter Behrens designed New Ways, a snobbish dwelling in Northampton, which is regarded as an early example of the International Modern style (Biography Peter Behrens n.d. ). Carpenter (n. d. ) indicated, Need and demand inspires Art. International Modern Style buildings appeared in the early post war in the form of many large industrial sized buildings (par. 1). During the years avocation the war, hospitals were needed for the injured and other buildings were needed to house soldiers after they were released from the hospital and before they could go home. Of course, this is mandatory when dealing with any war. However, back in the 1900s when World War I was occurring, people were not familiar with so many injuries.Thus, architects that were able to desi gn establishments that would benefit the war contributed greatly to their countries. In fact, the German language was present in Behrens Behrens House, as indicated in front sections. Building Analysis The Behrens House is unique in nature. It was built to become Peter Behrens habitat, where he could display his ideas into his work in detail. Moreover, the house was where Behrens perspective of some of his greatest ideas. In fact, it was discussed at the Wikipedia website that, Behrens built his own house and fully conceived everything inside the house (furniture, towels, paintings, pottery, etc. ). The building of this house is considered to be the turning point in his life (Peter Behrens Biography? 2007). It was the time period when Behrens went to the Expressionistic style and re-directed many of the thoughts he put into his architecture from the Jugendstil style. During this period, Behrens also steered away from the Munich artistic circles for which he had grown acquainted. Behrens became temperate and strict in his style of designs (Peter Behrens Biography? 2007). This was evident in the Behrens House. In fact, the construction system was made of brick and stucco facade, with a wood interior (Behrens House 2007).Thus, this gave the impression that Behrens had been serious when he built this home. It could have been the strain of involvement with so many different things or the toil that war can bring to even citizens of the war, whatever the case, Behrens House was amongst the first designs that took Peter Behrens in a totally different direction. This would be the Art Noueau style (Behrens House 2007). Of course, this style brings the total package of art designs to the home. So, what are the technicalities privy this design? Well, architecture itself is a technicality.Egan (1998) wrote, In terms of architecture, before we go down how to build, we must decide what to build, and why (par. 4). Peter Behrens decided that he precious to construct a ho me and then he built Behrens House to be his home. At the same time, Behrens knew his safe-haven would be the building ground for many of his ideas. This factor relates to Egans (1998) discussion in the fact that Egan said, the most dispute doubts in architecture are not answered through laws of physics or engineering they are questions of culture and psychology (par. 4).Behrens became Expressionistic around the time of World War I. Since the details in his architecture were somber, one could speculate that Behrens had seen some horrors of the war that had found a place in his heart and came out in his designs. Even so, Behrens still portrayed the fact he was a German by having the German culture displayed in his work. This answers the question of culture. Psychology is answered by the fact that Behrens went from Jugendstil to an Expressionistic style of design. Do these attributes show that technicalities existed in Behrens design? Yes. However, Egan (1998) mentioned,the essenc e of architecture is not construction sooner it is the design of spaces for humans. It includes spaces for humans, for their activities, for their treasures, and for their aspirations. architecture uses the physical world of construction to shape, order, structure, articulate, and embody our spaces and our beliefs. (par. 4) This statement, in itself, gives way to the fact that Industrial Classicism existed. Industrial Classicism was considered to be the style that connected man with machine. Thus, Behrens tied himself with his architecture by building his own home and then working out of it.What type of brainiac did this suggest of Behrens? It could be noted that Behrens had a Cognitive pragmatics mentality. Tirassa (1999) pointed out, Cognitive pragmatics is touch with the mental process involved with intentional communication, that is, with the characteristics of the head teacher/brain that bear individuals belonging to the human (and possibly to other) species to intentiona lly surpass with each other (1). If this is the case, then Behrens was able to communicate his thoughts and aspirations with the design of his home in 1901. Architecture does not rely on oral communication.Therefore, Behrens was able to effectively communicate his design style, which everyone did not approve of. In order to fully envision what this means, the assumptions behind cognitive pragmatics must be given. Tirassa (1999) wrote, The first is that communication is surmount viewed as one form of social activity and that a guess of communication belongs therefore to the study of action and social action sooner than of language or of the transmission of information. The second is that communication involves some form of active cooperation between participants. (1-2)In architecture, this may not be entirely true. For example, Behrens critics picked up on his rigid style by viewing his buildings and so did those who enjoyed Behrens work. Therefore, on social interaction had to t ake place for this to occur. Additinally, not everyone was in concordance that the Behrens House was one of the best pieces of architecture of that time. However, the design had people talking. Unfortunately, not all the communication was goodas criticism was evident amongst some of the discussions (discussed earlier). So, was Behrens House a building for the times?Yes and no. It is because Behrens designed the home to last. not only that, Behrens House received a lot of talk and during a time when war rages, opening up some form of communication is better than keeping it all bottled in until it explodes on its own. The master(prenominal) reason is because when/if that tension explodes in a negative manner, no sexual intercourse what type of additional problems it will cause. Behrens House was also a building of its time because it allowed Behrens to express himself in such a manner, that he helped others go on to achieve great things.This was evident due to the contributions of architectural teachings and creations of utilitarian objects that Behrens brought to the world. On the other hand, Behrens design may not be the best building for all times. In the presence of war and ever-increasing technological advancements, Behrens House may not have been practical living quarters for a family on the move. In these times, houses can be built in a matter of days and those with a high degree of difficulty can be built in one week (as seen on rudiments, Extreme Makeover Home Edition). Yet, back in those days, houses could be quickly assembled as well.An article about snail-like homes surfaced around 1943. It indicated that buildings, called proportion Structures had been created and the buildings were being tested in The Bronx. The article also pointed out that these buildings were, Built on small concrete piersand is unique having its framework, like a snails, on the outside. The Structure is still of two practically independent parts 1) an arch-shaped roof made of insulated panels and back up by posts 2) rooms, formed of demountable inner & outer panels (sic) which can be shuffled around at will under the roof.Thus the structure has no weight-carrying walls. (Houses akin Snails 1943). Consequently, these buildings were good for housing the injured and supporting the war. In fact, it was written that the bombastic unites could be changed to meet the requirements of homes, hospitals, recreation centers, storage, schools, etc. (Houses Like Snails 1943). These factors, alone, make Ratio Structures both durable and convenient for todays times as well. Moreover, this statement is relative to current war issues. This is because the article also mentioned,Under (sic) wartime restrictions the panels are made of celotex and wallboard. But they could be made of any material. Having no weight-carrying walls, the Wiener-Sert system uses only 50% of the structural lumber and 80% of the metal permitted by WFB. (Houses Like Snails 1943) What do al l these things suggest about Behrens and his art? More than meets the eye. Conclusion Peter Behrens was able to listen to his heart and design the desires therein. That speaks volumes of the man. Not too many architectures, let alone, people are willing to do something new.Many professionals and individuals, in general, are more concerned with what others might do, think, or reckon than they are with being different. Of course, World War I had a lot to do with the fact that Behrens changed the way he designed from the Jugendstil style to the Expressionistic style. Yet, what should be noted is that those were not the only two design styles of the architect. Behrens also created works that displayed the style of Industrial Classicism and International Modern Style as well. Therefore, Behrens House should be considered as groundwork to other masterpieces in his time.References A. E. G. High Tension Factory. smashing Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 may 200 7 <http//www. greatbuildings. com/buildings/A. _E. _G. _High_Tension_Fac. html> Behrens House. spacious Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 <http//www. greatbuildings. com/buildings/Behrens_House. html> Biography Peter Behrens. n. d. 17 May 2007 <http//www. behrens-peter. com/> Jugendstil. Senses Art Nouveau sprl. 2007. 17 May 2007 <http//www. senses-artnouveau. com/biography. php? artist=JUG> Carpenter, Steve.International Modern Style. n. d. 17 May 2007 <http//www. discovery. mala. bc. ca/web/carpentesr/> Egan, Christopher K. Ideas in Architecture. 1998. Egan/Martinez Design. 18 May 2007 <http//www. egan-martinez. com/ideasin. htm> I. G. Farben Offices. corking Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 <http//www. greatbuildings. com/buildings/I. _G. _Farben_Offices. html> Introduction to Art Nouveau. Senses Art Nouveau sprl. 2007. 17 May 2007 <http//www. senses-artnouveau. com/art_nouve au. php> Peter Behrens?. Answers. com. 2007. 17 May 2007 <http//www.answers. com/topic/peter-behrens> Peter Behrens?. Great Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 <http//www. greatbuildings. com/architects/Peter_Behrens. html> Peter Behrens Biography?. Wikipedia The Free Encyclopedia. 17 April 2007. Berne Convention. 18 May 2007 <http//en. wikipedia. org/wiki/Peter_Behrens> Tirassa, M. Communicative competence and the architecture of the mind/brain. 1999. Academic Press. 18 May 2007 <http//cogprints. org/3584/01/1999-Communication. pdf> House of Snails. Time, Inc. 24 May 1943. 18 May 2007 <http//