Behrens became the first to apply the principles of the
‘Deutscher Werkbund’ of 1907; an alliance between industry and the decorative
arts (inspired by the British Arts and Crafts movement), with the aim to
produce high quality goods for mass consumption. He initially started by
designing marking graphics and domestic products, but later designed AEG
factory buildings and workers housing. His co-ordination and consistency within
this work generated a unified appearance, establishing a visual identity for
the AEG which is now known as ‘corporate identity’.
By far his most celebrated
architectural project for the AEG, was his Turbinenfabrik (Turbine Factory,
1910) on the Moabit factory site, which was the principal focus of my
presentation. Of interest is the structural system (triple-hinged girder
construction) which is articulated on the façade. The building was Behrens’
first industrial building project. It should be noted however that, with
Behrens’ inadequate knowledge of engineering for such an undertaking, the
design was a collaborative endeavour with engineer Karl Bernhard. Today, due to
his work with the AEG, Behrens is often recognised as the father of German
industrial design and the founder of corporate identity.
Study of the AEG Turbinenfabrik
That evening I had just got off the U-Bahn at Karlsplatz
station and was heading to a design meeting when I spotted a familiar face.
Adrian, my housemate during my year in professional practice, was visiting
Vienna for a few days. Unfortunately I had caught him on his last day in
Vienna, so after chatting for a short while I said farewell and promised to
meet up again when back in England. I’m still amazed that I would bump into an
old friend so far away from home.
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