The Modern House and the Weissenhof Exhibition - A comparative analysis

At the beginning of the 20^th century much was taking place in and around Germany. The driving force of the artistic and cultural reform taking place was the Deutscher Werkbund - which grew out of the German Arts and Crafts movement. Established as a cultural reform project the Werkbund consolidated and accelerated the integration of art and industry at a national level as to transcend Capitalism. Architects such as Peter Behrens oriented the movement so as to “infuse mass-production with meaning and spirit by artistic means” – Naumann (Colquhoun p.58). Similar to the Art Nouveau and Jugensdtil movements, the Werkbund focused on the reduction of time and efforts of manual labor in relation to cultural evolution.

  (fig. 1) AEG Turbine Factory

Peter Behren’s approach to art and architecture was “deeply tinged with the symbolism that characterized the German secessionist movements” (Colquhoun p.64). He has been cited as the father of German Industrial Design as well as the founder of corporate identity in which he exemplified through his work with the AEG Turbine Factory (fig.1). This style of architecture in the machine age was to be based upon classicism thus the factory exemplified a strong ancient Greek or Roman style to its structure, later know as industrial classicism.

(Fig 2)  Weissenhof Homes 31-32

In 1927 the Weissenfhofsiedlung exhibition in Stuttgart was an international showcase for what later became known as the International Style.  Behrens, the oldest designer played an integral role in the development teaching names such as Mies van der Rohe and Le Corbusier and designing Homes 31-32 for the exhibition (fig. 2).  Behrens’ design focused on a dominant system of geometry.  The arrangement of intersecting volumes plays off one another symbolically and allows for an overlap of square relationships- both in plan and elevation (fig 3). It is interesting to examine these relationships and investigate their correlations. The elevation and its placement of openings depict a strong grid system, which relates into the plan (fig.4) however to examine this further I began to look at the repetition between plan and elevation.  

(Fig. 3)

(Fig. 4)

When viewed in relation to their placement, both plan and elevation hint at a similar form and can be suggested from one another. Though not an identical comparison, the basic geometries seem to correspond (fig. 5). The modularity and use of modern materials and technology express Behrens’ form in the exhibition as distinct as possible. The resultant settlement with its flat roofs and flush white surfaces are testimonials to the form and technology, design and construction of what was then revolutionary architectural conception.   

(Fig. 5)

(Fig. 6) The Looshaus

During this expansive time in history another provocative and influential designer holds the claim of the father figure of the 1920’s modern movement. Adolf Loos similar to Peter Behrens managed to leave an enormous influence on Le Corbusier and generations of architects. Belonging to the same generation as the main figures of the Art Nouveau and Jugendstil movements Loos opposed their rationale and instead “saw the split between the craftsman and the artist irreversible” (Colquhoun p.73).  His writings on ornament argued against the principles of Peter Behrens and the Werkbund - who portrayed the artist as a form-giver to the industry. Adolf Loos believed ornamentation was eliminated due to cultural evolution and in the end a benefit to society reducing the time and labor spent. In context to ornamentation and its role in the design of Adolf Loos’ The Looshaus 1909-11 (fig. 6) “Loos treated each part of the building in a way appropriate to its function… whereas Behrens in his Turbine Factory carefully masked his distortions of classical syntax to create a seamless fusion of classical and modern”(Colquhoun p.77).

(Fig. 7) Villa Muller.
Raumplan

The evolution of Viollet-le-Duc’s traditional country house and French maison de plaisance culminated influences for Loos’ designs for several villas. The Villa Muller 1929-30 (fig 7.) began to show the mechanics of Loos’ concept of Raumplan or changes of level between rooms. This was a revolutionary moment transforming the floor plan into volume and envisioning/controlling the way inhabitants move through spaces. While Behrens may have utilized this concept on a larger scale more in relation to building mass it is evident the Loos theorized this concept on a much more intimate. As the case in many of his house designs there were wide openings between rooms and often-diagonal views were the resultant. “The walls in the spatial ordering played a dramatic role both phenomenally and structurally’’ (Colquhoun p.81).  These continuities between rooms not only served as transitions within the interior but Loos was deliberate in separating the outside public from the private interior (fig. 8). Consequently the exterior walls were stark without any form of ornamentation covering the lavish, warm and comfortable interior. Loos’ concept for Villa Muller was similar to that of Behrens’ using cubic volumes and shifting their placement. In the North elevation of Villa Muller Loos makes the repetition of the cube evident (fig. 9).  The repeated form not only establishes the exterior shell but also guides the placements of the windows and opening on the façade. “Similarity in contour between the windows is achieved by the golden section and partitioning into two or four sections”(Besser p.28). 

(Fig. 8) Courtesy of Urban

(Fig. 9)

While it seems evident Loos’ concept for Villa Muller was theoretically strong in its organization I feel it lacked a sense of symmetry that Peter Behrens had presented in his work at the Wiesenhof settlement. These men however were incredibly brilliant and ahead of their time by many years; their work word helped to produce one of the most influential movements in the history of architecture.   

Works Cited: 

"Stuttgart Tourist - Weißenhofsiedlung." Stuttgart Tourist - Hotels, Übernachtungen, Apartments, Kongresse, Pauschalangebote in Stuttgart Und Der Region Stuttgart, Tagungshotels, Kongresshotels. Stuttgart Marketing GmbH. Web. 21 Sept. 2011. <http://www.stuttgart-tourist.de/ENG/leisure/weissenhofsiedlung.htm>.

Besser, Joern, and Stephan Liebscher. Adolf Loos: The Life - The Theories - Analysis of the Villa Muller. University of Bath, 2005. Web. 25 Sept. 2011. <http://www.desyndicate.de/inhalt/downloads/Adolf_Loos-The_Life-The_Theories-Villa_Mueller.pdf>.

Colquhoun, Alan. Modern Architecture. Oxford: Oxford UP, 2002. Print.

Curtis, William J. R. Modern Architecture since 1900. [London]: Phaidon, 1996. Print.

Middleton, Dr., Deborah A. "Dutch & German Expressionism, Berlage & Adolf Loos." Arch 329. Ball State University, Muncie, IN. 20 Sept. 2011. Lecture.

Middleton, Dr., Deborah A. "Werkbund & Bauhaus Peter Behrens, Gropius." Arch 329. Ball State University, Muncie, IN. 22 Sept. 2011. Lecture.

Urban, Anna. Analysis of Muller House in FormZ. Anna Urban: Portfolio. 2006. Web. 25 Sept. 2011. <http://annaurban.wordpress.com/analysis-of-mueller-house-in-form-z/>.