The document provides information about the Garden City Movement and its key figures and developments: - Sir Ebenezer Howard proposed the concept of Garden Cities in his 1898 book, which envisioned self-contained, planned communities surrounded by greenbelts with proportionate areas of residences, industry and agriculture. - Two early examples of Garden Cities built based on Howard's ideas were Letchworth Garden City and Welwyn Garden City in England, planned by Raymond Unwin and others in the early 1900s. - The movement emphasized urban planning policies that led to the later New Town movement and influenced concepts like neighborhood units despite only two cities being built as Garden Cities.

1. ARCHITECTURE BEFORE THE WORLD
WAR-PART 2

2. Garden City Movement
• The Garden City Movement is a method of urban planning that was initiated
in 1898 by Sir Ebenezer Howard in the United Kingdom. Garden cities were
intended to be planned, self-contained communities surrounded by
"greenbelts", containing proportionate areas of residences, industry, and
agriculture.
• Howard published his book To-morrow: a Peaceful Path to Real Reform in
1898 (which was reissued in 1902 as Garden Cities of To-morrow)
• His idealised garden city would house 32,000 people on a site of 6,000 acres
planned on a concentric pattern with open spaces, public parks and six
radial boulevards, 120 ft wide, extending from the centre. The garden city
would be self-sufficient and when it reached full population, another garden
city would be developed nearby. Howard envisaged a cluster of several garden
cities as satellites of a central city of 58,000 people, linked by road and rail.

3. Garden City Movement
• In 1904, Raymond Unwin, a noted architect and town planner, along with his
partner Barry Parker, won the competition to plan Letchworth, an area 34
miles outside London.
• Unwin and Parker planned the town in the centre of the Letchworth estate
with Howard’s large agricultural greenbelt surrounding the town, and they
shared Howard’s notion that the working class deserved better and more
affordable housing. However, the architects ignored Howard’s symmetric
design, instead replacing it with a more ‘organic’ design.
• Two garden cities were built using Howard's ideas: Letchworth Garden
City and Welwyn Garden City, both in England.
• Even until the end of the 1930s, Letchworth and Welwyn remained as the
only existing garden cities. However, the movement did succeed in
emphasizing the need for urban planning policies that eventually led to
the New Town movement.

4. The Three Magnets

5. The Original Garden City concept by Ebenezer Howard

6. Conceptual Layout

7. Garden City Movement
• Circular city growing in a radial manner or pattern.
• Divided into six equal wards, by six main Boulevards that radiated from the
central park/garden.
• Civic institutions (Town Hall, Library, Hospital, Theatre, Museum etc. ) are
placed around the central garden.
• The central park enclosed by a crystal palace acts as an arcade for indoor
shops and winter gardens.
• The streets for houses are formed by a series of concentric ringed tree lined
avenues.
• Distance between each ring vary between 3-5km .

8. Garden City Movement
• A 420 feet wide , 3 mile long, Grand avenue which run in the center of
concentric rings , houses the schools and churches and acts as a continuous
public park.
• All the industries, factories and warehouses were placed at the peripheral
ring of the city.
• The municipal railway was placed in another ring closer to the industrial
ring, so that the pressure of excess transport on the city streets are reduced
and the city is connected to the rest of the nation.

9. Garden Cities
• The First Garden City evolved out
of Howard’s principles is
Letchworth Garden City designed
by Raymond Unwin and Barry
Parker in 1903.
• The second one to evolve was
Welwyn Garden City designed by
Louis de Soissons and Frederic
Osborn in 1920.
• Another example was Radburn
City designed by Clarence Stein
and Henry Wright in 1928.

10. Letchworth
• Letchworth, officially Letchworth Garden City, is a town in Hertfordshire, England,
with a population of 33,600.
• It was designed by Raymond Unwin and Barry Parker.
• Letch worth – 35 miles from London.
• Land of 3822 acres.
• Reserved Green belt- 1300 acres.
• Designed for a maximum of 35000 population.
• In 30 years – developed with 15000 population & 150 shops, industries.

12. Welwyn
• Welwyn Garden City is a town within the Borough of Welwyn
Hatfield in Hertfordshire, England.
• It is located approximately 19 miles from Kings Cross and 24 miles from London.
• On 29 April 1920 a company, Welwyn Garden City Limited, was formed to plan
and build the garden city, chaired by Sir Theodore Chambers. Louis de
Soissons was appointed as architect and town planner and Frederic Osborn as
secretary.
• Land of 2378 acres.
• Designed for a maximum of 40000 population.
• In 15 years – developed with 10000 population & 50 shops, industries.

15. Welwyn Characteristics
• Streets are designed so as to give the concept of a Neighborhood unit.
• Separation of the pedestrian walkways from the main roads gives a sense of
natural beauty.
• Open and green spaces are given on a large scale.

16. Radburn, New Jersey
• Radburn was planned by architects Clarence Stein and Henry Wright in 1928.
• It is America’s first garden community, serving as a world wide example of the
harmonious blending of private space and open area.
• Radburn provided a prototype for the new towns to meet the requirements for
contemporary good living.
• Radburn was designed to occupy one square mile of land and house some 25,000
residents. However, the Great Depression limited the development to only 149 acres.
• Radburn created a unique alternative to the conventional suburban development
through the use of cul-de-sacs, interior parklands, and cluster housing.
• Although Radburn is smaller than planned, it still plays a very important role in the
history of urban planning.
• The Regional Planning Association of America (RPAA) used Radburn as a garden city
experiment.

18. Elements Of Radburn City
• Park as backbone of the neighborhood.
• Specialized Highway system, Complete separation of vehicular and pedestrian traffic with
21% of road areas.
• The Radburn planners achieved the separation of vehicular and pedestrian traffic through
the use of the superblocks, cul-de-sacs, and pedestrian-only pathways. Through the use of
the superblock, houses in Radburn were uniquely designed to have two fronts.
• The ‘back side’ of the house, what we would normally consider the front side, faced the cul-
de-sac and parking. The kitchen was normally placed in the back to provide visitors a place
to enter the house. The ‘front side’ of the house faced towards the green spaces or parks
encouraging pedestrian traffic.
• Since automobiles were given limited access to the ‘backs’ of the houses, the ‘fronts’ of the
house were relatively quiet, therefore, the bedrooms were always placed on this side of the
house. The 2900 residents of Radburn share 23 acres of interior parks, which yield 345
square feet / person.

19. Assignment 2-10 Marks
1. Write short notes on Radburn City in terms of planning. Explain with
street view images of the city.
2. Write short notes on Welwyn City in terms of planning. Explain with
street view images of the city.
3. Write short notes on Letchworth City in terms of planning. Explain
with street view images of the city.
4. Write short notes on Art Nouveau movement. Give an example of at
least one prominent Architect of that era with a building designed by
him/her. Also explain the important features of the design.
5. What is a Garden City? Write about its inception and the features of
the planning proposed by Sir Ebenezer Howard

20. WILLIAM MORRIS

21. William Morris
• William Morris (24 March 1834 - 3 October 1896) was an English textile
designer, artist, writer, and socialist associated with the English Arts and Crafts
Movement.
• Morris had trained as an architect and had early unfulfilled ambitions to be a
painter. As a student at Oxford he met the artist Edward Burne-Jones, and
through this friendship he came into contact with Rossetti- a painter, and others
in their circle.
• In 1859 Morris married Jane Burden. He immediately commissioned his friend,
the architect Philip Webb, to build them a new home. Morris wanted a modern
home which would nevertheless be ‘very medieval in spirit'. This is exactly what
Webb gave him.
• Morris and his wife moved into Red House in 1860 and spent the next two years
furnishing and decorating the interior. Morris did much of the work himself, with
help from his artist friends.

22. William Morris
• Prompted by the success of their efforts, they decided to start their own
company. In April 1861 Morris, Marshall, Faulkner & Co. was established at 8 Red
Lion Square in London. It produced a range of original domestic furnishings
including embroidery, tableware and furniture, stained glass and tiles.
Wallpapers were soon added to the list because Morris was unable to find any he
liked well enough to use in his own home.
• Morris, Marshall, Faulkner & Co. profoundly influenced the decoration of
churches and houses into the early 20th century. He was also a major contributor
to reviving traditional textile arts and methods of production.
• His vision in linking art to industry by applying the values of fine art to the
production of commercial design was a key stage in the evolution of design as we
know it today.

23. William Morris
• Morris felt that the 'diligent study of Nature' was important, as nature was the
perfect example of God's design. He saw this as the spiritual antidote to the
decline in social, moral and artistic standards during the Industrial Revolution.
• Morris encouraged artists to look to the past for their inspiration believing that
the art of his own age was inferior. Morris' solution was for a return to the values
of the Gothic art of the middle Ages, where artists and craftsmen had worked
together with a common purpose: to glorify God through the practice of their
skills.
• The model for this solution was the medieval crafts guilds which he saw as a
type of socialist brotherhood where everybody fulfilled themselves according to
their level of ability. Morris felt that this would enhance the quality of life for all,
and that artistic activity itself would be seen as a force for good in society.

24. Works of William Morris

25. JOHN RUSKIN

26. John Ruskin
• John Ruskin (1819-1900) was the leading English art critic and was among the
most influential thinkers and activists of the Victorian era, as well as an art
patron, draughtsman, watercolourist, and philanthropist.
• He was also a prominent writer who wrote on varied subjects including geology,
architecture, myth, ornithology, literature, education, and political economy.
• He travelled widely as a young man. His experiences of visiting different places
enriched his knowledge of the world and gave him the chance to observe nature
in its varied states. From a young age he maintained notebooks in which he made
drawings of maps, landscapes and buildings.
• He also travelled widely which inspired his artistic pursuits. He gained
widespread recognition for what became the first volume of ‘Modern Painters’, a
book on art criticism. The popularity of the book prompted him to add later
volumes in subsequent years.

27. John Ruskin
• John Ruskin also had a keen interest in architecture, particularly in the Gothic
revival. In 1849, he published ‘The Seven Lamps of Architecture’, detailing the
seven moral categories that Ruskin considered vital to and inseparable from all
architecture: sacrifice, truth, power, beauty, life, memory and obedience.
• The Seven Lamps of Architecture (1849) explored the Gothic styles of the
Middle Ages, which he considered to be the great age of the craftsman.
• Ruskin was keenly interested in the Gothic Revival and promoted that the
preservation and restoration of the Gothic architecture of the Middle Ages was a
vital activity.
• Over the years, he had traveled broadly and witnessed extensive social
injustices. Industrialization was taking hold and profit motivation was becoming
more and more evident in the world. Ruskin was determined to hold individual
people and moral values above the money motivated forward march of industrial
progress.

28. John Ruskin
• The points covered in the seven lamps of architecture
1. Sacrifice – dedication of man's craft to God, as visible proofs of man's love
and obedience.
2. Truth – handcrafted and honest display of materials and structure.
3. Power – buildings should be thought of in terms of their massing
4. Beauty – aspiration towards God expressed in ornamentation drawn from
nature, his creation.
5. Life – buildings should be made by human hands, so that the joy of masons
and stone carvers is associated with the expressive freedom given them.
6. Memory – buildings should respect the culture from which they have
developed.
7. Obedience – no originality for its own sake, but conforming to the finest
among existing English values, in particular expressed through the "English
Early Decorated" Gothic as the safest choice of style.

29. •He blamed the broader industrialized capitalist system for the problems of labor
force and in his writings and lectures he repeatedly challenged the apologists of
the capitalistic economy.
• John Ruskin was ahead of his time, as evidenced by the contents of his books,
lectures, essays, and correspondence letters. He wrote about issues such as
minimum wage, health services, pensions, education of women, pollution,
erosion, and even global warming, at a time in history when these were not
common issues.
• He published The Stones of Venice (1851) in which he showed that many
significant Gothic buildings were built on the efforts of individual skilled
craftsman, healthy and happy in their labor. He published the second and third
volumes of The Stones of Venice in 1853 and in these he argued that
industrialization and the capitalist economy had reduced the working man to a
mere cog in the machine.
John Ruskin

30. John Ruskin

31. HENRY VAN DE VELDE

32. Henry van de Velde
• Henry Clemens van de Velde (1863 –1957) was a Belgian painter, Architect and
interior designer. He could be considered as one of the main founders and
representatives of Art Nouveau in Belgium. Van de Velde spent the most
important part of his career in Germany and had a decisive influence on German
architecture and design at the beginning of the 20th century.
• Van de Velde was born in Antwerp, where he studied painting at the
famous Royal Academy of Fine Arts, Antwerp(Belgium).
• In 1892 he abandoned painting, devoting his time to arts of decoration and
interior design.
• His own house, Bloemenwerf in Ukkel, was his first attempt at architecture, and
was inspired by the British and American Arts and Crafts Movement. He also
designed interiors and furniture for the influential art gallery "L'Art Nouveau"
of Samuel Bing in Paris in 1895. This gave the movement its first designation
as Art Nouveau.

33. Henry van de Velde
• Van de Velde was strongly influenced by John Ruskin and William Morris’s
English Arts and Crafts movement and he was one of the first architects or
furniture designers to apply curved lines in an abstract style. Van de Velde set his
face against copying historical styles, resolutely opting for original (i.e. new)
design.
• In 1899 he settled in Weimar, Germany, where in 1905 he established the
Grand-Ducal School of Arts and Crafts, together with the Grand Duke of Weimar.
It is the predecessor of the Bauhaus, which, following World War I, eventually
replaced the School of Arts and Crafts, under new director Walter Gropius, who
was suggested for the position by Van de Velde.
• Although a Belgian, Van de Velde would play an important role in the German
Werkbund, an association founded to help improve and promote German design
by establishing close relations between industry and designers.

34. Henry van de Velde
• He would oppose Hermann Muthesius at the Werkbund meeting of 1914 and
their debate would mark the history of Modern Architecture. Van de Velde called
for the upholding of the individuality of artists while Hermann Muthesius called
for standardization as a key to development.
• During World War I, Van de Velde, as a foreign national, was obliged to
leave Weimar (although on good terms with the Weimar government), and
returned to his native Belgium. Later, he lived in Switzerland and in
the Netherlands. He died, aged 94, in Zürich.

35. Chair designed for house
"Bloemenwerf", 1895
Chemnitz, Germany: Villa Esche
Villa Hohenhof in Hagen

36. VIENNA ART MOVEMENT-
(Vienna Secession)
• A group of artists and designers who, influenced by the rectilinear, vertical
designs of Scottish Architect-Designer Charles Rennie Mackintosh and the
Glasgow School , broke away from the artistic establishment in Vienna.
• It was founded on 3 April 1897 by artists Gustav Klimt, Koloman Moser, Josef
Hoffmann, Joseph Maria Olbrich, Max Kurzweil, and others.
• Otto Wagner is widely recognised as an important member of the Vienna
Secession.
• The Secession artists objected to the prevailing conservatism of the Vienna
Künstlerhaus with its traditional orientation toward Historicism.
• Unlike other movements, there is not one style that unites the work of all
artists who were part of the Vienna Secession. Secession artists were concerned,
above all else, with exploring the possibilities of art outside the confines of
academic tradition.

37. • They hoped to create a new style that owed nothing to historical influence. In
this way they were very much in keeping with the iconoclastic spirit of turn-of-
the-century Vienna.
• Along with painters and sculptors, there were several prominent architects who
became associated with the Vienna Secession. During this time, architects
focused on bringing purer geometric forms into the designs of their buildings.
• Even though they had their own type of design, the inspiration came from
neoclassical architecture, with the addition of leaves and natural motifs. The
three main architects of this movement were Josef Hoffmann, Joseph Maria
Olbrich, and Otto Wagner.

38. The Sanatorium, Purkersdorf, Austria

39. Postal Office Savings Bank Building, Vienna (1894–1902)

40. The secession building at Vienna, built in 1897 by
Joseph Maria Olbrich for exhibitions of the secession
group

41. Further Reads
• https://en.wikipedia.org/wiki/Garden_city_movement
• https://en.wikipedia.org/wiki/Radburn,_New_Jersey
• https://en.wikipedia.org/wiki/Letchworth
• https://en.wikipedia.org/wiki/Welwyn_Garden_City
• https://en.wikipedia.org/wiki/Art_Nouveau
• https://www.geni.com/projects/The-Garden-City-Movement/15255
• https://en.wikipedia.org/wiki/Eclecticism
• http://www.visual-arts-cork.com/architecture/twentieth-
century.htm

42. • http://www.visual-arts-cork.com/history-of-art/nineteenth-century-
architecture.htm
• http://www.encyclopedia.com/people/literature-and-arts/architecture-
biographies/otto-wagner
• https://en.wikipedia.org/wiki/Otto_Wagner
• http://www.arts-and-crafts-style.com/John-Ruskin.html
• https://en.wikipedia.org/wiki/The_Stones_of_Venice_(book)
• https://en.wikipedia.org/wiki/The_Seven_Lamps_of_Architecture
• https://en.wikipedia.org/wiki/John_Ruskin#Architecture
• https://en.wikipedia.org/wiki/Henry_van_de_Velde
• http://www.art-nouveau-around-the-world.org/en/artistes/vandevelde.htm

43. Otto Wagner
• Otto Koloman Wagner was an Austro-Hungarian architect and urban planner,
known for his lasting impact on the appearance of his home town Vienna, to
which he contributed many landmarks.
• He started designing his first buildings in the historicist style.
• In the mid- and late-1880s, like many of his contemporaries in Germany,
Switzerland and France, Wagner became a proponent of Architectural Realism. It
was a theoretical position that enabled him to move away from the historical
forms
• In 1894, when he became Professor of Architecture at the Academy of Fine Arts
Vienna.
• Wagner declared himself absolutely and without reservation in favour of a
modern architecture in response to modern needs and condemned all stylistic
imitation as false and inappropriate.

44. • Wagner was very interested in urban planning — in 1890 he designed a new
city plan for Vienna, but only his urban rail network, the Stadtbahn, was built.
• In 1896 he published a textbook entitled Modern Architecture in which he
expressed his ideas about the role of the architect.
• After the turn of the century, Wagner started throwing off the Art Nouveau
influence.
• Wagner facilitated greatly the reform of architectural practice and the
establishment of modern design principles, such as honest use of materials,
especially steel; rejection of historicist formal vocabulary; and preference for
simplicity and clarity of form.
• Among his works, the Vienna railroad with its stations and the Postal Savings
Bank provided exemplary solutions to contemporary and relatively new
architectural problems.

45. Works of Otto Wagner

46. Chicago School
Rectilinear Facades Height Cuboidal Forms

47. Chicago School
Classically derived decoration Cuboidal Forms
Stone Facing

48. Chicago School
• Chicago's architecture is famous throughout the world and one style is referred
to as the Chicago School.
• The style is also known as Commercial style. The Chicago School was
a school of architects active in Chicago at the turn of the 20th century. They were
among the first to promote the new technologies of steel-frame construction in
commercial buildings, and developed a spatial aesthetic which co-evolved with,
and then came to influence, parallel developments in European Modernism.
• They are not usually thought of as Modernists. However if one considers the
essential problems posed by Modernism as of how to generate the appropriate
form for the buildings that would reflect both their modern construction and the
spirit of new age, then the Chicago School architects were among the first to
grapple with it.
• Contemporary publications used the phrase "Commercial Style" to describe the
innovative tall buildings of the era rather than proposing any sort of unified
"school“. Architects whose names are associated with the Chicago School
include Daniel Burnham, Solon S. Beman, and Louis Sullivan among others.

49. LOUIS SULLIVAN
FORM FOLLOWS FUNCTION

50. Louis Sullivan
• Louis Henry Sullivan was an
American architect, and has
been called the "father of
skyscrapers“
• He is considered by many as
the creator of the modern
skyscraper, was an influential
architect and critic of
the Chicago School, was a
mentor to Frank Lloyd Wright.
• He foreshadowed modernism
with his famous phrase "form
follows function.“

51. Louis Sullivan
• He foreshadowed modernism with his famous phrase "form follows
function.“
• Sullivan worked at a variety of architecture firms in Chicago and quickly
gained fame as a forward-thinking designer.
• Chicago was the perfect city for young architects in the wake of the Great
Chicago Fire of 1871, one of the worst disasters of the 19th century, which
destroyed vast areas of the city.
• When Sullivan arrived in the in the mid-1870s, the city was enjoying a spirit
of rebirth and renewal, and architects were in high demand.
• He helped design new music halls, workers' buildings, apartments and
eventually, some of America's earliest skyscrapers.

52. Louis Sullivan
• 'Form follows function',
Sullivan said. By this he mean
that the form of a building,
such as its decoration, design
or style, should arise from the
function or purpose of a
building, not the other way
around.
• It was actually a
revolutionary idea for the
time. Prior to Sullivan's entry
into the field, American
architects tried to emulate
established ideas of design
and form.
• As a result, many buildings, particularly
those in cities, had European designs. But due
to Sullivan's influence, by the late 1800s and
into the early 1900s, American cities acquired
began to acquire a new and distinct look of
their own for the first time in history.

53. Louis Sullivan
• Sullivan neither thought nor designed along such dogmatic lines during the
peak of his career.
• He often took inspirations from Art Nouveau style and designed elements in
the elevations which are usually cast in iron or terra cotta, and ranging from
organic forms to more geometric designs.
• Such ornaments eventually would become Sullivan's trademark.
• Another signature element of Sullivan's work is the massive, semi-circular
arch. Sullivan employed such arches throughout his career—in shaping
entrances, in framing windows, or as interior design.

54. Louis Sullivan
Carson Pirie Scott building, Chicago
Prudential (Guaranty) Building

55. EXPRESSIONISM

56. Expressionism
•The political, economic and social upheavals that followed Germany’s defeat in
World War I resulted in an overturning of old certainties, notably those
embodied in the imperial order but also generally in assumptions about the
technological progress.
• Expressionism developed in Europe during the first decades of the 20th
century predominantly in Germany and Netherlands.
• Expressionism exhibits some of the qualities of the original movement such as;
distortion, fragmentation or the communication of violent or overstressed
emotion.
• The style was characterized by an early-modernist adoption of novel materials,
formal innovation, and very unusual massing, sometimes inspired by natural
biomorphic forms, sometimes by the new technical possibilities offered by the
mass production of brick, steel and especially glass.

57. Expressionism
• Economic conditions severely limited the number of built commissions
between 1914 and the mid-1920s resulting in many of the most important
expressionist works remaining as projects on paper, such as Bruno Taut's Alpine
Architecture and Hermann Finsterlin's Formspiels.
• Expressionist architecture became identified in the early 1920s with a number
of architects working in Netherlands- like Michel De Klark and Pieter Kramer-and
in Germany, notably Hans Poelzig, Fritz Hoger and Peter Behrens.
• Walter Gropius founded the Bauhaus, based on his ideas of ‘the new times
demand their own expression.’ Although he moved later on from Expressionism
to Modernism.

58. Expressionism
Expressive Forms
Dynamism

59. Expressionism
Modern Building Types
Naturalism
Monolithic Materials

60. PETER BEHRENS

61. Peter Behrens
• Peter Behrens was
a German architect and designer.
• He was important for
the modernist movement, and
several of the movement's leading
names (including Ludwig Mies van
der Rohe, Le Corbusier and Walter
Gropius) worked for him in earlier
stages of their careers.
• At first, he worked as
a painter, illustrator and book-
binder in a sort of artisanal way.
Behrens' house interiors at the Darmstadt
Artists' Colony

62. Peter Behrens
• He frequented the bohemian circles and was interested in subjects related to
the reform of life-styles.
• In 1899 Behrens accepted the invitation of the Grand-duke Ernst-Ludwig of
Hesse of his recently inaugurated Darmstadt Artists' Colony, where 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,
when he left the artistic circles of Munich and moved away from Arts and Crafts
style towards a sober and austere style of design.
• He was one of the leaders of architectural reform at the turn of the century
and was a major designer of factories and office buildings in brick, steel and
glass.

63. Peter Behrens
• Behrens' first work of
architecture - is indebted to Art
Nouveau in some of its features,
but it is more remarkable for the
way in which it deviates from Art
Nouveau norms.
• Many consider its more
austere, stripped down style to
be Behrens' first step away from
decorative styles and towards
the modernism that he
eventually helped to inspire. The Peter Behrens House at the Darmstadt
Artists' Colony

64. Peter Behrens
• In 1907, Behrens teamed with ten other artists and designers and a group of
twelve companies to create the Deutscher Werkbund, an organization that was
deliberately designed to compete with the English Arts and Crafts movement
and improve the status of German design and industry.
• As an organization, it was clearly indebted to the principles and priorities of
the Arts and Crafts movement, but with a decidedly modern twist.
• As a result of this organization, Behrens was employed by AEG as an artistic
consultant and called upon to design everything from the company's logos and
typefaces to its product design, effectively making Behrens the world's first
industrial designer.
• From this alliance in 1909 came the AEG Turbine Factory. The building's
industrial nature required a significantly different approach, in both its spatial
and functional requirements, to anything that established architectural styles
had to offer. As a result, steel and glass predominate in the building's 123 meter
long shell.

65. Peter Behrens
AEG Turbine Factory, 1908–1909.
Three versions of the famous water kettle: 1,25L
1,0L and 0,75L
Top Right: Industrial clock designed by Behrens for
AEG in 1909