Friday, May 24, 2019

Architect Peter Behrens

The purpose of this analysis is to identify, define, and explain. It is a three straggle analysis that in addition has an Introduction and a Conclusion. The archetypal section discusses the Historical Background of the Architect, woodpecker Behrens. Behrens was natural in Ger some where he made a signifi skunkt contribution to the industry field. He brought the titles of Expressionistic, industrial Classicism, Jugendstil, and International Modern Style to his masterpieces. In fact, these bolts atomic number 18 explained in section two which is the Critical Analysis.Behrens buildings, Behrens provide, A. E. G. High Tension grind, I. G. Farben Offices, and New Ways are assigned p cheaticular styles based upon the way they were intentional and the year in which they were reinforced. The final section is the Building Analysis. Additional details are presumption for the Behrens House. These details are in stipulations of technicality, criticism, and building for the times. B ased upon the findings of this information, a Conclusion is drawn. Historical Background of the Architect Peter Behrens was pilot burnerly from Hamburg, Germ either. He was born in 1868.Behrens first-class honours decimal point profession was as a painter. However, graphic and applied blinds 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 Artists Colony in Darmstadt enabled Behrens to establish a leadership role there. Yet, he would non stay put for long. Behrens next venture was in Dusseldorf where he was employed as the coach of the Kunstgewerkeschule. It was an interim position that sparked Behrenss interest in adding a unique geometric abstraction to his cultivate (Peter Behrens? 2007). The 1890s was the time detail when Behrens was located in Munich where he was employed as a painter and graphic artist. It is also when Behrens gained membership into the Jugendstil movement. H owever, it was not until 1893 that Behrens became one of the co-founders of the Munich Secession. Additionally, He produced woodcuts, colored (sic) illustrations, originations for book bindings and crafts objects solely shaped by the Jugendstil formal language ( animation Peter 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 handsewn utilitarian objects (Biography Peter Behrens n. d. ). These contributions to society were just as the word utilitarian means functional, unimaginative, and down-to-earth. Consequently, Behrens displayed humbleness in his work as wellhead.This side may also keep back been seeming(a) 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 sam e time that Behrens was creating unique architecture that stirred up a lot of chatter and criticism, he was ankle-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 established in Darmstadt (Biography Peter Behrens n. d. ).Naturally, having a position of such this caliber bestowed 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 origin why Behrens felt it time to build his own home. Designed as a total work of art, Haus Behrens caused quite a stir Behrens himself knowing the architecture and the interior 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 inner-creativeness is what caused the A EG to become 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 person who created the human beings 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 utilized the form and real(a) found in the industry field.Moreover, Behrens work helped pave a path for others to follow. Therefore, he can be considered a key figure in the renewing 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 schoolmaster to the Vienna Akademie der Bildenden Kunste which is an architecture department where he also taught (Biography Peter Behrens n. d. ). As a result, Behrens was ab le 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. One of his last commissions, in 1938, was to plan a new AEG provide 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 works was the Behrens House.It was designed in 1901 and is located in Darmstadt, Germany. The brook is known for its fine dining rooms and music appeal. Its outline is one of the normal formats for a small burgeois house (Behrens House 2007, par. 1). However, its internal and external put forwardion was unusual, particularly for its combination of features drawn from the English Arts and Crafts movementwith elements such as the high-pitched roof drawn from the German Vernacular (Behrens House 2007, par. 1). In this sense, the word vernacular gives a strong indication that the German culture was evident in Behrens works.Vernacular is just another term for the word 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 buildings. 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 coiffe made of glass and iron. When Behrens created the building, he was able to incorporate a very unique and different ascertain to it.Behrens achieved a plastic effect and a propellant form of construction of the trusses, which were pulled to wards the outside, as well as through the tapering 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 keep 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 International Modern Style. Did knowing these things stop others from criticizing Behrens works? No. Another architect also had strong words to say about Behrens. In fact, Erich Mendelsohn criticized the building A. E. G. High Tension Factory He pastes over the expression of tension, which the hall creates, with the rigidity of a repeatedly broken 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 20th 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 some architects saw the beauty in Behrens masterpiece. Le Corbusieradmired the structure as being a charged center, which represents the constitutive(a) architectonic creations of our timerooms with admirable moderation and cleanness, with magnificent machines, which set solemn and impressive accents, as the center of attraction (A. E. G. High Tension Fac tory 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 defined 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 system for these commercial offices. He followed the Dutch Expressionist Modern style as well.This theatrical role of architecture was symbolic of both the theatrical play of light as well as the systematic use of slanting rafters which dish up to disrupt the overall rectilinearity (I. G. Farben Offices 2007, par. 1). Consequently, this building was reminiscent of the Expressionistic style as we ll. Again, in this style the artist puts his heart into his work. One of Behrens later masterpieces was New Ways. In 1926 Peter Behrens designed New Ways, a private 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 lifesize industrial sized buildings (par. 1). During the years following the war, hospitals were needed for the wound 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 traffic 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 design establishments that would benefit the war contributed greatly to their countries. In fact, the German la nguage was present in Behrens Behrens House, as indicated in previous 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 thought 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 rigorous in his style of designs (Peter Behrens Biography? 2007). This was evide nt 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 life-threatening 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, any(prenominal) 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 behind this design? Well, architecture itself is a technicality.Egan (1998) wrote, In terms of architecture, before we decide how to build, we must decide what to build, and why (par. 4). Peter Behrens decided that he wanted to construct a home and then he built Behrens House to be his home. At the same time, Behrens knew his safe-have n 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 challenging questions in architecture are not answered through laws of physics or technology 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 say 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 imply that technicalities existed in Behrens design? Yes. However, Egan (1998) mentioned,the essence of architecture is not construction instead 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 mentality did this suggest of Behrens? It could be noted that Behrens had a Cognitive pragmatics mentality. Tirassa (1999) pointed out, Cognitive pragmatics is concerned with the mental process involved with intentional communication, that is, with the characteristics of the mind/brain that give up individuals belonging to the human (and possibly to other) species to intentionally communicate with each other (1). If this is the case, then Behrens was able to communicate his th oughts 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 understand what this means, the assumptions behind cognitive pragmatics must be given. Tirassa (1999) wrote, The first is that communication is best viewed as one form of social activity and that a theory of communication belongs therefore to the lead of action and social action rather 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 take place for this to occur. Additinally, not everyone was in agreement 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 main reason is because when/if that tension explodes in a negative manner, no telling 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 ma y 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 ABCs, Extreme Makeover Home Edition). Yet, back in those days, houses could be rapidly assembled as well.An article about snail-like homes surfaced around 1943. It indicated that buildings, called Ratio 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 cover piersand is unique having its framework, like a snails, on the outside. The Structure is composed of two practically independent parts 1) an arch-shaped roof made of insulated panels and supported by posts 2) rooms, formed of demountable inner & outer panels (sic) which can be shuffled around at will un der the roof.Thus the structure has no weight-carrying walls. (Houses Like Snails 1943). Consequently, these buildings were good for housing the injured and supporting the war. In fact, it was written that the Large 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 all 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 de sires 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 say 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. vast Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 may 2007 Behrens House. Great Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 Biography Peter Behrens. n. d. 17 May 2007 Jugendstil. Sense s Art Nouveau sprl. 2007. 17 May 2007 Carpenter, Steve.International Modern Style. n. d. 17 May 2007 Egan, Christopher K. Ideas in Architecture. 1998. Egan/Martinez Design. 18 May 2007 I. G. Farben Offices. Great Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 Introduction to Art Nouveau. Senses Art Nouveau sprl. 2007. 17 May 2007 Peter Behrens?. Answers. com. 2007. 17 May 2007 Peter Behrens?. Great Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 Peter Behrens Biography?. Wikipedia The Free Encyclopedia. 17 April 2007. Berne Convention. 18 May 2007 Tirassa, M. Communicative competence and the architecture of the mind/brain. 1999. schoolman Press. 18 May 2007 House of Snails. Time, Inc. 24 May 1943. 18 May 2007

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