If requested to call buildings by German architect and designer Peter Behrens (14 April 1868 – 27 February 1940), few individuals would be capable of reply with something aside from his AEG Turbine Manufacturing unit in Berlin. His type was not one which lends itself simply to canonization; certainly, even the Turbine Manufacturing unit itself is tough to understand with out an understanding of its historic context. Regardless of this, Behrens’ achievements are to not be underestimated, and his significance to the event of architecture would possibly greatest be understood by three younger architects who labored in his studio round 1910: Le Corbusier, Mies van der Rohe, and Walter Gropius.
Born in Hamburg, Behrens moved to Munich in 1890 the place he started his profession as a painter, illustrator and bookbinder. In these years, he was a part of Munich’s artwork scene, and usually labored within the standard type of the time, Jugendstil (Artwork Nouveau). In 1899, Behrens was invited by the Grand-duke Ernst-Ludwig of Hesse to Darmstadt Artists’ Colony, the place he was provided the chance to construct his personal home.
The ensuing building—Behrens’ first work of architecture—is indebted to Artwork Nouveau in a few of its options, however it’s extra exceptional for the way in which through which it deviates from Artwork Nouveau norms. Many think about its extra austere, stripped-down type to be Behrens’ first step away from ornamental types and in the direction of the modernism that he finally helped to encourage.