Peter Behrens Behrensschrift Typeface Created in Germany Influenced by French Art Nouveau
John Peck on the local architectural legacy of Peter Behrens…
Considered past some to be the earth's start industrial designer, Peter Behrens (1868-1940) is likewise one of the giants of mod German language architecture. His legacy looms especially large in Berlin, where his two near famous edifice complexes, Moabit'south Turbinenfabrik and Wedding ceremony's AEG Humboldthain campus, tower monumentally over their respective neighborhoods.
Numerous other buildings by Behrens have made their mark on the metropolis, and despite nearly all being built prior to WWII, a surprising number—either through sheer luck or their colossal scale—have survived into the modern era. The greatest of Behrens' buildings combine a nascent modernism with minimalist neoclassicism, and projection power and strength while retaining a workmanlike simplicity.
Though his legacy is inextricably linked to Berlin, Behrens' connexion to the city was never a sure thing. Born in Hamburg into considerable wealth, Behrens was orphaned at a young historic period and raised by the Sievekings, a family unit in the upper echelons of Hamburg social club. He showed an early interest in painting, and after studying in Hamburg, Karlsruhe, and Düsseldorf, he settled in Munich in 1889, where he began creating work in earnest.
He became involved with the Munich Secession, producing numerous paintings and woodcuts that were often large in scale and featured elements of symbolism, realism, and Art Nouveau. In 1896, Behrens visited Italy for the first time, and the country'due south art and culture, and in item its architecture, had a profound consequence on him and became a core influence in his work.
Behrens also began to co-operative out into production pattern and interior decoration, creating porcelain tea sets, silverware, piece of furniture…even clothing. This shift from fine art to handicraft brought him to the attention of Grossherzog Ludwig von Hessen, who invited him to exist office of the Darmstadt Künstlerkolonie, a showcase of art, architecture, and performance that the grand knuckles sought to build and curate via a paw-picked squad of creators. It was as part of the Darmstadt Kolonie that Behrens made the transition from interior design and ornament to architecture, designing and overseeing the construction of a house on the Mathindenhöhe.
Though it was his first endeavor at a full construction, the end result was highly successful, merging a traditional, almost Tudor-style house with curves that hinted at Art Nouveau arabesques, and an overall synergy between elements both within and without.
Over the next several years, Behrens parlayed the overall success of his work at the Kunstlerkolonie into further architectural projects. He also began developing his ain typefaces, including the elegant Behrens-Schrift , a Fraktur-adjacent script with Fine art Nouveau flourishes like to Eckmann, besides every bit Kursivs, Antiquas, and sans-serifs. The period from 1900 to 1907 was one of exponential development for Behrens, in which he began to cultivate a cohesive style that would ultimately help shape the Berlin landscape.
1907: The Werkbund and AEG
1907 was a pivotal year for Behrens. It was the year in which the Deutscher Werkbund was formed, and Behrens was selected, along with a formidable group of artists, designers and architects, to be one of its founding members. The organisation was helmed by the influential diplomat and builder Hermann Muthesius, and its overarching goal was to unite the various disciplines that broadly fell under the categories of handicraft, blueprint, industrial product, and the arts.
While the Werkbund , like the Arts & Crafts Move which served every bit its footing, was ostensibly based on a valorisation of aesthetics, decorative arts, and craft as noble goals in their own right, it was also a capitalistic (and to some caste nationalistic) effort to increment the profile of German products worldwide, with significant backing from government and manufacture leaders.
Over the post-obit decades, Behrens' projects served as prime number examples of Werkbund principles in action, but information technology was some other result of 1907 would accept an even greater consequence on the trajectory of his career and life: the first of his relationship with Berlin's AEG ( Allgemeine Elektricitäts-Gesellschaft ). Though Behrens never became a full employee of AEG and remained an contained contractor throughout their decades-long relationship, he was all the same a major forcefulness behind the visitor's identity and aesthetics, an achievement that has led many to consider him the earth's first industrial designer.
Behrens' get-go major project for the company was to update their line of arc lamps. These intensely bright bulbs had a necessarily tubelike shape that was dictated by the long, fast-burning filaments they required, and every bit such had a fairly express range of possibility from a blueprint perspective. Nonetheless, Behrens' iterations of the lamps' designs were highly successful from both a stylistic and practical standpoint: the aesthetically pleasing designs were popular with AEG'due south customers, while his use of mass-producible components meant the production costs were reduced.
In addition to redesigning the arc lamp and re-envisioning AEG'south corporate identity, Behrens also designed and realised several small standalone buildings for AEG at various exhibitions throughout Germany. Perhaps the most notable of these—as well every bit Behrens' first Berlin structure—was the AEG Pavilion at the German Shipbuilding Exposition of 1907.
The hit construction used an octagonal shape every bit its basis, which it embellished up and outwards in a beautifully restrained geometry that combined minimalism with neoclassicism. The building shared substantial design traits with several of Behrens' earlier architectural endeavours (in item a Protestant church designed for the congregation of Hagen-Wehringhausen that was ultimately rejected), and demonstrated an ability to successfully mine his own work for inspiration.
His relationship with AEG well established, Behrens settled in Neubabelsberg and built the atelier that would serve equally his base of operations of operations. Over the post-obit years, he assembled a staff of promising young architects to assist him, including the impressive trifecta of Ludwig Mies van der Rohe, Walter Gropius, and Le Corbusier.
It was with the back up of this squad and the conviction from his early successes with AEG—likewise as an urgent demand for increased production capacity necessitated by the company's immense growth—that Behrens was able to make the extraordinary leap from small-calibration exhibition buildings to the monumental structures that would form the footing of his architectural legacy.
Temple of the Turbine: Moabit'south Turbinenfabrik
Completed in 1909, the Turbinenfabrik remains a stunning example of proto-modernism, too as of early 20th century compages overall. In early black-and-white photos, with no structures of comparable size near it, the building takes on the mythical scale of an aboriginal temple, and stands crisply against the grey sky.
Despite more than than a century having passed since information technology was start built, the hall remains truly impressive in calibration. The exterior facade towers over Huttenstraße, with massive, steel-paned windows and carved lettering (the quadruple-hexagon AEG logo above the give-and-take "Turbinenfabrik" in Roman script) placed at such a pinnacle that information technology's best viewed from across the street.
The full length of the hall tin be seen at its east-facing side on Berlichingenstraße, where massive, green-painted metal columns alternate with walls of concrete and glass. (The colour scheme was a more recent addition, with both the yellowed concrete and green steel added during renovations in 1978.)
Walking down the length of Berlichingenstraße reveals the total feel of the structure; its massive steel supports ascension pillar-like into the heaven, and its tall, vertical-paned windows bend in to create the illusion that the structure increases in size equally it ascends from the ground. The pillars themselves are jointed at roughly chest-height, a conclusion idea necessary at the time to allow the building to shift under extreme weather conditions, equally well equally with the milkshake and sway of trains and the massive machinery within.
Interestingly, every bit the original train tracks that brought immense machine parts to the hall were in the back of the building and are now enclosed within the greater walled-off complex, the Turbinenhalle lacks any sort of street-facing archway. This just increases its monumental feeling, with the wall forth Berlichingenstraße stretching hundreds of meters equally a continuous surface. These unbroken lines, particularly when viewed from the corner, give the edifice the timeless feel of an ancient Greek or Egyptian temple, enhanced by the regular rhythm of the evenly spaced columns.
The last effect is a perfect amalgam of monumentality and minimalism; as Alan Windsor writes in Peter Behrens: Architect and Designer:
The Turbine Hall, although notwithstanding to be considered as a landmark in the development of mod compages, was, of course, past no means a novelty in the sense of beingness a manufactory designed as 'architecture', nor in that information technology was invested with a dramatic, temple-like air… Its particular genius lay in the expressive power of steel and glass used on a very large scale, without decorations of any kind; in the carefully related proportions of the building; in the consideration given to each structural feature.
The Electric Manufacturing plant: AEG at Humboldthain
To the northeast of the Turbinenfabrik, beyond the canal in Hymeneals, lies Behrens' largest Berlin projection: The AEG Humboldthain complex. Unlike the Turbinenfabrik, which is currently owned and run past a single company (Siemens), Humboldthain houses dozens of different businesses, ranging from industrial production to broadcast media, as well equally several satellite departments from Berlin's Technical Academy. This means that the grounds are broadly accessible to the public, allowing for close-up views of Behrens' buildings alongside those built both before and after his tenure with AEG.
Behrens' single largest construction at Humboldthain is the Montagehalle für Großmaschinen (Large Machine Associates Hall) from 1912, which rivals the Turbinenfabrik in scope and design. Different its Moabit counterpart, notwithstanding, its longer side faces Hussitenstraße, which is much broader and more open than the narrow Berlichingenstraße and allows for an impressive wide view of the building equally it towers over the neighborhood.
Unfortunately, the edifice's gabled facade on Voltastraße is much worse for wear, with the incongruous GSG property management logo tacked onto its left side, and a much more straightforward "AEG" sign with worn-looking letters at its centre. Overall, the gable lacks the dynamic tension betwixt vertical and horizontal of the Moabit hall, and ultimately presents a panorama that is more standard and less likely to invoke awe-inspiring comparisons.
The major advantage of the Humboldthain site, nonetheless, is its accessibility. In addition to the impressive and nuanced northern facade of the Montagehalle, with its massive windows offer views of the expansive interior, at that place are other Behrens buildings onsite that can be explored, including the angular brick Hochspannungsfabrik (High Tension Materials Factory) and the northern side of the immense Kleinmotorenfabrik (Minor Motors Manufactory).
The complex has several mannerly smaller details as well, including a circular railroad switching platform near the archway with its manus-operated crank partially consumed by a tree that has grown over it for decades, a wild array of overhead tracks, a beautifully stylised clock tower, and what appears to be original AEG arc lights of the kind designed by Behrens jutting from the brick buildings at astringent angles.
However, the edifice at Humboldthain that gives the most breathtaking sense of scale is not the airy Montagehalle, but rather the massive, street-facing side of the Kleinmotorenfabrik. Its immense brick columns convey an arguably even more awe-inspiring feel than the steel pillars of the Turbinenfabrik, with a walk along the facade's full length providing an analogously meditative experience, as each massive colonnade rises from its graffiti-covered base into the sky.
Further Afield: Haus Wiegand and the Behrensbau
Haus Wiegand (1911-1912) was built for the archaeologist Theodor Wiegand on his Dahlem belongings. By far the most aggressively neoclassical of Behrens' surviving works—all the more than surprising for a private residence—the edifice features a columned peristyle in a blend of styles and eras that reflected the owner'due south broad-ranging involvement in the ancient earth. The ridge at the base of the roof that runs around the entirety of the structure serves as a sort of blank frieze, conveying the classical theme while remaining modern. Today the edifice appropriately houses the German Archaeological Institute.
In 1917, Behrens designed a edifice for AEG founder Emil Rathenau's Nationale Automobil-Gesellschaft in Oberschöneweide. The NAG Building, retroactively named the Behrensbau, was Behrens' concluding major industrial project in Berlin, and while its location makes it a less convenient destination than the Turbinenfabrik or the Humboldthain circuitous, its scale and monumentality are on par with those more than famous projects.
At the time it was built, the 58-meter tower made it the tallest edifice (as differentiated from tallest structures such as church building and communications towers) in Germany, breaking the centuries-long record held by the Augsburger Rathaus. Ironically, it would be overtaken the following year by the Siemensturm, which stood in the center of the Siemensstadt settlement a mere xx kilometres to the northwest.
The tower retains its proto-skyscraper feel today, as the surface area immediately effectually it has not been extensively developed. While the building'due south surface has become a bit mottled and chipped over the by century, it remains an impressive sight, especially when viewed from the travertine gate at the human foot of the tower. And while AEG's Kabelwerk Oberspree complex a few hundred meters to the northwest does not include whatever of Behrens' buildings, the overall surface area tends toward the massive scale of the Moabit and Hymeneals structures.
Alexanderplatz: Alexanderhaus and Berolinahaus
The Alexanderhaus and Berolinahaus, twin buildings on the northern plaza of Alexanderplatz, were belatedly entries in Behrens' career, built in 1931 and '32 respectively. While not as impressive equally his massive brick factories, and characterised by a much more straight-laced and conservative experience, the buildings withal retain elements of Behrens' unique mode. Each has a central raised "spine" covered in white panels that bisects the centre and provides continuity between the structures, while also serving as a sort of gateway when looking from north to south.
In appearance, the buildings were neoclassical plenty to survive the Nazi years, while simultaneously socialist-modernist enough to survive the DDR era that followed. As is the fate of almost of Alexanderplatz'south buildings, their lower floors bear the indignity of countless concatenation-store logos, but their upper floors have retained enough minimal grandeur to offset the overloaded colour palette and chaotic tourist-focused energy of the surrounding area.
Weighty Words: The Reichstag Portico
Behrens' final mark on the cityscape is hidden in plain sight on a building that is one of the nigh of import not just in Berlin, but in Germany and perchance even Europe: the Reichstag. The inscription on the edifice's pediment, "Dem Deutschen Volke", was designed by Behrens and his student Anna Simons in 1909. Originally rejected past the Kaiser every bit an unfitting add-on to the seat of national power, the letters were finally commissioned and installed in 1917 at the urging of then-chancellor Theobald von Bethmann-Hollweg.
While the typeface was a meticulously constructed amalgam of numerous styles and eras, including Uncial, Fraktur, and Bastarda, the letters themselves had an nigh unbelievably burly and Prussian backstory: they were made, quite literally, from French cannons seized in the Franco-Prussian War of 1813-1815, which had been melted down into raw bronze and reforged.
The massive letters surpass the scale of a mere typographical feature and become every bit awe-inspiring equally the relief above them and the columns below. Having survived traumas from the burn down of 1933 to the Battle of Berlin to decades of postwar neglect and slow reconstruction, the inscription has proven even stronger than the cannons from which information technology was fabricated.
Rebuilding a Legacy
During his lifetime, Behrens' work had a profound influence on the principles of later institutions—most notably the Bauhaus—via both the clout of the Werkbund and his direct tutelage of Gropius, Mies Van Der Rohe, and Le Corbusier during their younger years. Dissimilar the Bauhaus, though, which was suppressed and eventually closed past the Nazis, both the Werkbund and Behrens himself enjoyed privileged positions, for whatever they were worth and as long as they would last, within the 3rd Reich.
Albert Speer gained the approval of Hitler himself for Behrens' work, with the builder'southward abrupt geometric style and embrace of Greek and Roman forms assuasive the Nazi high control to overlook whatever potential lack of exuberance for its ideals. Past the late 1930s, the new Berlin ("Germania") was in its planning stages, and Behrens was tapped to design a new AEG headquarters on the megacity'southward massive north-southward axis, which would be created in Speer's decidedly more fascist-leaning classicism.
By this point, Behrens' health was fading quickly, and in 1940 he died of a center assail in a Berlin hotel room. In a regime preoccupied with war and conquest, his expiry was barely noticed, and information technology was only in the decades that followed, as the state rebuilt in the backwash of the war, that his legacy was rebuilt likewise.
While several of his buildings throughout Deutschland, like so many architectural treasures, were completely destroyed by bombs, a surprising number survived. With the sectionalization of the city into East and W, his major industrial centres in Moabit and Wedding ended up on the western side of the wall forth with Haus Wiegand, while the buildings at Alexanderplatz and Schöneweide became role of the DDR.
Driven by the functional needs of a massive industrial concern, Behrens' AEG buildings remained intact throughout the Cold War and reunification, and remain impressive in scale even past today's standards. The combination of their size and functionality has kept them standing for over a century: solid construction (and a bit of luck) immune both to survive World War Two, while the sheer scale and effectiveness of their design has kept them actively in utilise through the nowadays twenty-four hour period. His Berlin factories remain proto-modernist masterpieces and are a lasting manifestation of his ain estimation of the word compages every bit a merging of grade with function, as quoted by Windsor:
Compages is the art of building, and comprises in its proper name two ideas; the mastery of the applied, and the art of the beautiful. In that location is something exhilarating in being able to combine in one give-and-take the two ideas–that of applied utility and that of abstract dazzler—which unfortunately accept too frequently been opposed to each other.
Locations
Turbinenfabrik: Huttenstraße at Berlichingenstraße, Moabit. U9 Turmstr. or U7 Mierendorfplatz, so grab the M27 passenger vehicle to Wiebestr./Huttenstr. (westbound from the former, eastbound from the latter). NOTE: The facade of the building is currently under construction, which is expected to continue into late 2021.
AEG Humboldthain: bordered by Brunnenstraße, Gustav-Meyer-Allee, Hussitenstraße and Voltastraße, just southward of Volkspark Humboldthain in Wedding (U8 Voltastraße). The monumental brickwork of the Small Motors Mill runs for nearly half a kilometre along Voltastraße, and the facade of the Large Machine Assembly Hall sits at the southwest corner of the cake. The entrance to the circuitous's interior (mostly accessible to the public during standard concern hours) is on Gustav-Meyer-Allee at the northwestern corner. The ornate brick-and-tile AEG gate, congenital in 1896 prior to Behrens' clan with the visitor, is also worth a visit on Brunnenstraße. (Note: the gate is currently nether maintenance and is expected to be obscured past scaffolding through at least summer 2021).
Alexanderhaus and Berolinahaus sit down directly north of Alexanderplatz station; both can be viewed from the east end of the S-Bahn platform or the northern plaza of Alexanderplatz. The DDR-era Weltzeituhr sits roughly within the L-shape of the Alexanderhaus, and also offers a good vantage point for both buildings.
Haus Wiegand: Peter-Lenné-Straße 28 in Dahlem (U-Podbielskiallee).
Behrensbau / NAG Building: Wilhelminenhofstraße in Oberschöneweide (Tram M27, M60, M61, or M67 to Rathenaustraße/HTW). The interior is currently airtight due to pandemic measures, but the main tower and exterior are best viewed from Wilhelminenhofstraße.
Reichstag: U-Bundestag, on Platz der Republik only northward of Brandenburger Tor. The inscription appears on the primary pediment above the six columns, best viewed from the lawn in front end of the edifice.
All colour photos by the author unless otherwise indicated
Sources and Further Reading
Alan Windsor, Peter Behrens: Architect and Designer. London: The Architectural Printing, 1981.
Stanford Anderson, Peter Behrens and a New Architecture for the Twentieth Century. Cambridge: MIT Press, 2002.
Stephen Sennott, ed., Encyclopedia of Twentieth Century Compages. Oxfordshire: Routledge, 2004.
Brian Ladd, The Companion Guide to Berlin. Suffolk: Boydell & Brewer, 2004.
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Source: http://www.slowtravelberlin.com/the-industrial-cathedrals-of-peter-behrens/
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