MA L3 - Werkbund

The German Werkbund = Association of craftsmanship 

This is a milestone or preparation ground for modernism. 

We will focus on Germany before WWI, before 1914. We will focus on a specific milieu or environment that is characterized by blending economical, technical and cultural approaches. 

Before going into depth of today's class, we will introduce the German Werkbund and the main concept that lay behind its foundation. Then, we will talk about two main protagonists of the German Werkbund: Muthesius and Behrens, and a few of their important works, their similarities and differences. 

The Deutscher Werkbund was founded in 1907 in Munich. The founders stressed the idea of collaboration. Time wise, we are located after the art nouveau and before the Bauhaus movement. They looked at the Arts and Crafts to preview the Bauhaus. 

We can view the Deutscher Werkbund as another Arts and Craft movement. 

It's called the German Association of Craftsmanship and the philosophy behind it was very similar to that of the Arts and Craft movement, it's defined by the importance of creating of high-quality products made through craftsmanship. 

The founding members included 12 artists (architects and designers) and 12 manufacturers (representants of the industry). The number 12 holds a symbolic significance. 

Their goal was to upgrade the quality of the national German product design.

They believed that enhancing labor conditions would lead to greater joy in labour among workers, which in turn would improve product quality and foster a higher standard of mass consumption. 

This will then result in social freedom and enhance the national performance. This goes back to the main ideology of the movement which was to enhance the german culture.

The values behind the movement were related to quality, ethics, appropriate use of material, functionality and sustainability.

This movement significantly enhanced the standard of German goods, promoting increased social freedom through improved economic well-being and greater product competitiveness.

The main promoter of the German Werkbund was Hermann Muthesius, who was not mentioned as one of the 12 founders because he was not directly involved, he was mostly pushing the movement in the background. 

He was an architect who began his career in Tokyo before moving to London, where he worked in technical and cultural affairs at the German embassy, where his duties included promoting German culture and techniques in England. During this time, he was accused of being an industrial spy (like Schinkel, who traveled to England to study industrial advancements to bring back to Germany). He then moved back to Germany, where his fascination for english houses lead to him publishing a book discussing this topic. He was also the counselor of the Prussian board of trade in Berlin and opened his own architectural practice. 

Like mentioned previously, he was very fond of English Houses. After returning to Germany, he drew inspiration from English housing and published a book on the subject. He was deeply passionate about the study of English homes, which could be translated to country homes or suburban houses.

Muthesius meticulously documented his findings in numerous publications.

This house plan from the book illustrates the concept of the English house, which consists of the aggregation of individual rooms (rooms are designed according to their specific functions). Muthesius was particularly interested in this idea, believing that each room should reflect its purpose.

He promoted for the English house model as a blueprint (model) for German architecture. This functional approach to room design influenced his own projects, including his own home. Muthesius emphasized the importance of reconnecting the house's form with how people live, highlighting the connection between function and lifestyle.

Here we see Muthesius's home, a hybrid of various architectural styles. It incorporates elements of the English model in its shape while also resembling a traditional German farmhouse.

The outer facade of Muthesius's home is quite regular, with no protruding volumes (sticking out), which creates a cozy and inviting atmosphere. This design fosters a sense of closeness to everyday life. 

Another significant aspect evident in this picture is the closeness between the interior and exterior spaces, particularly with the garden. The garden is framed by a pergola which seamlessly connects the house to the outdoor space. This integration reflects one of the foundational ideas of the movement: encouraging people to reconnect with nature.

Inside, we can still observe the principles of reformed architecture, which extend beyond the building itself to the furniture design and decor choices.

In the winter garden, a space that bridges the indoors and outdoors, the connection to nature is particularly evident. It embodies a simpler, nature-oriented lifestyle (which was considered to be a more authentic way of living).

He published a lot of books, was also interested in Crafts, modern industry, architecture, aesthetics many subjects (aesthetics). 

The main arguments (in red), emphasize the recognition of a strong German industry. This openness to new techniques and materials facilitates the emergence of fresh aesthetics, paving the way for a new German style.

Peter Behrens was educated as an artist (painter) not as an architect, he was the head of the Düsseldorf School of Design, which was promoted by Muthesius. 

He was the embodiment of the Werkbund ideas. 

His journey included various phases, beginning with a close association with the Art Nouveau style, this may be seen through two of his designs.

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He designed a lamp characteristic of the Art Nouveau style, featuring dynamic, organic and vital forms. The lamp depicts a lady holding the glass structure, embodying the movement and strong resonance of natural elements which was typical of Art Nouveau. In this piece, the human figure is seamlessly integrated with nature, highlighting the harmonious relationship between the two.

This object was created in a colony dedicated to experiment in modern architecture and design, where a group of artists from diverse fields collaborated to explore innovative living concepts and organize exhibitions.

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The exhibition poster, also designed by Behrens, presents the exhibition as a document of German art. It features a figure resembling a female divine being holding a light source. This imagery symbolizes enlightenment and aligns with German ideologies of spirituality, suggesting a higher, more elevated state of being.

As his career progressed, Behrens shifted his focus more toward architecture, culminating in the design of his own house.

It's formal language is primarily rooted in Art Nouveau, yet it also incorporates elements reminiscent of (that recall) the English country house and the traditional suburban German villa. 

The typology is quite mixed, as the house features a blend of classical and organic elements (that recall the art nouveau).

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Specifically, the ornamentation of the main entrance which features intersecting lines that converge at a single point (rays), evoke a crystalline or symbolic form. This design choice is significant because the concept of the crystalline is often associated with spirituality and deeper meanings. The way these lines come together can symbolize unity, clarity, and a connection to higher ideals, reinforcing the overall spiritual essence of the architecture.

This gives the impression that the artist who designed this entrance was divinely inspired, serving as a carrier of this inspiration and acting as a conduit for creativity that originates from a spiritual realm. In this role, he serves as a prophet, guiding others to enter a divine world through the door of his house.

The rays (or crystalline ornaments) can also be found in the interior of the house, representing the divine and recalling the idea that the artist is a carrier of spiritual values. They serve as the inspiration for the artist and are present for everyone who visits the house.

This design evokes a sense of spiritual elevation, reflecting the harmony between the physical space and higher ideals.

In 1907, Behrens went to work as a artistic consultant and chief designer at the AEG. It was one of the biggest general electricity companies, it was responsible of producing electrical equipment that allowed housing to have lighting (lightbulbs, means of transportation related to electricity, like tram and railway).

This company and Behrens shared similar ideologies, mainly that industrial tasks should be considered cultural tasks. This is important because they are creating a bridge between industry and culture. 

Behrens saw his role within the company as something not only related to the well-being of the company itself but also connected to the well-being of the nation and the upbringing of German culture.

Therefore, improving industrial production will benefit german culture.  

Behrens believed that the company should be better represented aesthetically in favour of not only the company but of the German culture. This is the first time the company understand the importance of corporate image. 

Companies should prioritize aesthetic representation and develop cohesive corporate designs, marking a significant shift as they recognize the importance of managing their corporate image. 

In this context, Behrens focused on corporate design and advertising, integrating design elements in electric products which were in German households.

The company image was also represented in stamps, reflecting the idea of advertising through stamps. This was a very innovative concept.

The corporate image extends to the factory architecture. 

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Reflects the ideas of the Werkbund: the different scales, from the logos to the building. 

Here we see an important building, the AEG Factory is Berlin-Wedding. This building embodies classical elements that evoke monumental architecture. Behrens emphasized the importance of the building's appearance, recognizing its impact on the corporate image. 

This building has two side: it has elements that align with both monumental and industrial architecture. 

Monumental: colonnade (sequence of columns) that are very noticeable through this perspective and the the shadows, additionally the windows are set further back. 

Industrial: features that are typical of factories, such as huge windows, use of the red brick as its main material, and lack of ornament (parapets). 

This style was considered proper for this kind of building as it reflects a seamless integration of industry and culture. This would also result in the enhancement of the grandeur and power of the nation. 

In fact, if we compare the AEG factory to the German Embassy, we can see that there are quite a lot of similarities regarding the monumental effect of the building, the order made by the columns. 

It also has a difference that make the German Embassy appear much more monumental, such as the statues of the roof in the center. 

It is interesting to note the difference in function and similarity in design. 

According the the Werkbund ideologies, the industry contributes to national power, so in a way industry and politics contribute to the nation similarly, so design of industrial buildings may be similar to the design for political buildings. 

Another AEG factory. 

This is another advertisement poster designed by Behrens, where the factory itself becomes the image being advertised.

Here, we can see that it resonates with the idea that everything related to the company has the potential to contribute to general culture and to spread the ideas and products of this company.

This factory is described as a "temple" from an aesthetic perspective because certain architectural elements of the factory resemble those of a temple. This design choice was made for symbolic reasons: to evoke a sense of admiration for the industry, similar to the respect temples commanded in ancient times. The aim was to connect the modern industrial era to its historical origins and highlight the significance of industry at the beginning of the 20th century.

Similar to classic Greek temples, combining elements of monumental architecture (pillars, pediment), but also elements that relate to its industrial function (building materials, engineering features, large windows and lack of ornamentation). The lack of ornamentation can e serving as a shrine to industry. 

The lack of ornamentation can be argued as the building showcases its logos at the center like a statue, which reinforcing its identity and purpose.

The form of the factory was shaped by its functional requirements. To accommodate the transportation of large turbines across the factory, a vast, uninterrupted space with a high ceiling was essential. This need influenced the design, resulting in a structure that embodies the essence of a factory: a spacious, open interior. 

The need for space was crucial in order to move the turbines with a moving gantry crane (included in the design). This feature highlighted the monumentality of "pure engineering." 

Additionally, the form and size of the building were carefully designed to meet the specific needs of production, emphasizing functionality and efficiency.

The factory serves as a temple, the idea that an industrial task was a cultural task. 

The factory as a temple "dedicated to some industrial cult," with the natural shape of the glass enhancing its sacred quality. This design not only reflects the reverence for industry but also emphasizes the harmonious relationship between form and function.

Wide pillars recall ancient temple, link with sacred architecture. 

The factory's main glass facade curves outward, creating the illusion that the glass supports the pediment above. This design symbolizes the technological strength of glass, suggesting it upholds the most significant part of the temple-like facade.

There is this ambiguity between the monumental aspect and the modern construction. On one hand, there is the strong glass window that is holding the pediment, and on the other, there are the ...

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pillars on the lateral facade that are stabilized by steel elements that rotate around a central point, locking into a right angle. This design achieves stability through a minimal rotational center, introducing ambiguity to the structure's sides, and adding the idea of flexibility. 

We can see how the green structure which is holding the glass is visible, not hidden, we're able to see in between the fake stone facade materials. 

Even the rivets are visible, the mechanical structure is in sight. This highlights once again the ambiguity: from afar they appears like two strong pillars (part of the load-bearing structure) but looking closer it looks like this is just a membrane a, thin cladding side, that is interrupted by horizontal plane that show the main steel construction that lays behind the facade.

From a distance, these features may appear to be significant structural elements, but they are merely a membrane, creating an illusion of strength while serving a more decorative purpose.

Another factory, designed later by Walter Gropius, serves as a comparison to highlight the differences. 

Gropius worked in Behrens office for a few years. Gropius joined the Werkbund in 1912. 

Gropius responded to Behren's idea of factories through this design, he wanted to demonstrate the rigour of modern engineering, the factory is an example of modern engineering, architecture as a piece of art. In comparison to the turbine factory, it is less archaic, no reference here to a temple. They is a strong classical air, through the sharp edges, modularity and proportions. Gropius works with the same elements, such as glass, steel, and the inclinations. Instead of stone corners, he presents sharp corners out of glass, which was completely innovative for the time. Instead of stone membrane, there is a complete envelopment out of glass. The entrance is mate out of stone and is asymmetrical, there is no glass. The main facade is switched between the volumes and materials of the AEG Factory and the Fagus Factory. 

The design aims to represent the rigor of modern engineering through a complete enveloping of glass, creating a sense of glass monumentality. 

Pillars bend inward as they rise, becoming increasingly integrated within the facade, which shifts the visual weight and emphasis onto the glass itself. This innovative use of glass conveys a material quality comparable to that of stone walls, suggesting that the glass possesses an equal strength. 

The stone pillars are not visible, causing the entire volume to appear as if it is floating, enhancing the spiritual dimension of the structure. As a crystalline material, glass embodies a sense of divine power.

There is both a material and spiritual quality.

Here, he stresses the relation between the role of the architect and the german culture, it brings to a spiritual level this union of function, material and technique: which is called form. The artist has the will to form, transform materials into something spiritual. 

This was done to think about the spiritual importance of the german quality production. 

The capacity of the modern German industry can be seen in the following examples: 

1 - using modern building materials and techniques

1-  being functional, it is a factory (architect thinks about how they can create bright and spacious interiors)

2 - on the other side there is the refined artistic treatment of matter (matter is treated in a higher artistical level) this results in sharp-cut crystalline form which is related to something more spiritual. 

2 - Architect is the only one that can produce this authentic form. 

German Werkbund exhibition held in Koln in 1914. It was a temporary exhibition, which was closed early because of WWI. It was a big area with new constructions, with a show of the state of the art of the Werkbund, where all the messages of the movement were showcased. There was also an example village and a amusement park. 

In the poster, there is some symbolism, there is a man riding a horse (spiritual message), he is holding a flame that is going in the opposite direction that what we would expect, symbolic representation of the unexpected nature of the exhibition. 

Sequence of buildings, you enter through the highest building (1) which was an office building and you walk through an open space (2) and then reach the factory plot (3). Through this path, you reach the highest point, which is the factory. This corresponds to a religious building, where you must go through different steps to reach the highest point. Here, Gropius conveys the celebration of production like worshipping in a church.

The main building, office building, has a symmetrical façade, no symbol of tectonics, the roof looks like it's floating. The two glass spiral staircase are very prominent, they are very unstructural, the volume are completely made out of glass. 

Gropius was influenced by some projects by FLW. 

If we look at the main facade of these two buildings we can see some similarities. 

The overhanging roofs, both look like they are floating. The symmetry of the entrance enclosure (the destruction of the box, roof is hoovering on top, no clear view of how it stands).

The glass staircase towers, visible spiral from the outside. They start glass volume that start of the side and wrap around the building. The building appears like it has no weight, the form is hard to distinguish. It is through this glass that the form evoked by the artist is created: the invention of the artist is celebrated. 

The will to form of the artist is highlighted through the glass material, as it is difficult to make it stand out like stone. 

Weightlessness: it has no weight. 

The form is hard to distinguished. The invention of the artist is celebrated. This takes place only because of this glass. Crystalline material.

The material and physical aspects of the design (light, air, and hygiene) reflect the ambiguity of the spiritual value evoked by the overarching idea that drives everything.

Another building of the exhibition is the Festival Hall by Behrens, which has more classical forms. 

Then there is also the Dye Industry Pavillion by Muthesius, which used more baroque forms, it was quite old-fashioned. 

Another building is the Theatre by Henry van de Velde. 

Mentioned in the first lecture. 

Organic shapes determined by the imagination of the artist, they represent the programmatic statement of the Werkbund theatre and state of the art. 

Discussion between Muthesius and Van de Velde regarding typification, the making of types, that relates to the industry. Van de Velde was interested in more of an individual expression of the artist.