Endüstriyel tasarımcı olarak Peter Behrens

Başlık çevirisi mevcut değil.

Tez No: 75175
Yazar: GAMZE TÜRK
Danışmanlar: PROF. DR. FİLİZ ÖZER
Tez Türü: Yüksek Lisans
Konular: Endüstri ve Endüstri Mühendisliği, Industrial and Industrial Engineering
Anahtar Kelimeler: Belirtilmemiş.
Yıl: 1998
Dil: Türkçe
Üniversite: İstanbul Teknik Üniversitesi
Enstitü: Fen Bilimleri Enstitüsü
Ana Bilim Dalı: Endüstri Ürünleri Tasarımı Ana Bilim Dalı
Bilim Dalı: Belirtilmemiş.
Sayfa Sayısı: 214

Özet

ÖZET“Endüstriyel Tasarımcı Olarak Peter Behrens”adını taşıyan bu tez ile modern hareketin öncülerinden biri olan Alman ressam, grafik sanatçısı, mimar ve endüstriyel tasarımcı Peter Behrens' in tüm çalışmalarının ve döneminin incelenmesi doğrultusunda endüstriyel tasarım alanı faaliyeti incelenmiştir. Bu tez altı bölümden oluşmaktadır. Giriş bölümünün ardından ikinci bölümde Behrens' in yaşadığı dönemle paralel olarak 19.yüzyıl ve erken 20. yüzyıl Avrupa Ortamı ele alınmaktadır. Burada, tarih içindeki sanat akımları kronolojik olarak örneklerle irdelenmiş, Behrens'in yaşamı ile kesişmeleri incelenmiştir. Üçüncü bölümde Peter Behrens'in tüm yaşamı özet olarak anlatılmış, sanat ve endüstri ile ilgili olan görüşlerim açıkladığı kendi yazısına yer verilmiştir. Dördüncü bölümde Peter Behrens'in endüstriyel tasarım alam dışı faaliyetleri olan ressamlığı, grafik tasarımcılığı, mimarlığı ve eğitmenliği görüşleri ve eserleri ile açıklanmış, asistanlığım yapmış büyük mimarlar Gropius, Mies van der Rohe ve Le Corbusier'nin üzerindeki Behrens etkileri araştırılmıştır. Tezin ana konusunu oluşturan beşinci bölümde, Behrens'in endüstriyel tasarım alanı faaliyeti, erken dönem tasarımları, AEG tasarımları ve AEG sonrası tasarımları olarak üç alt başlıkta örneklerle incelenmiştir. Altıncı ve son bölümde çalışmanın ve incelemelerin sonuçları değerlendirilmiştir.

Özet (Çeviri)

SUMMARY PETER BEHRENS AS AN INDUSTRIAL DESIGNER The German artist, graphic designer, architect and industrial designer Peter Behrens is one of the leaders of the Modern Movement. In this thesis called“Peter Behrens as an industrial designer”, his industrial design works are examined in parallel with the period he lived and compared to his own other artistic studies. Behrens is one of the first and most important industrial designers and examining his works is important in understanding the industrial design concept of today and its development. Behrens began his artistic activities with painting and soon he started to study in other branches like graphic design, architecture and industrial design. Although he was only taught in painting, he became a self-taught architect and industrial designer. The most important characteristic of Behrens is perhaps his complete designer personality that he developed by dealing with all artistic activities. Another significant point in Behrens' life is the working of the three most important and famous architects, who were the leaders of the 20th century's architecture and design, in Behrens' studio. No doubt that Behrens' studies and ideas about art, design and industry had an undeniable influence on these architects, Gropius, Le Corbusier and Mies van der Rohe. Behrens' opinion about the integration of industrial power and aesthetic of art gave him the opportunity to work with AEG, one of the biggest industrial firms of Germany and thus to work with industry. For the first time, an artist was asked to design the products which would be mass produced and this formed the base of the identity of industrial designer. It won't be wrong to qualify Behrens as the first modern industrial designer. Behrens tried to change people's mind about products produced by fabrication. People used to think that the products produced by mass production and fabrication were mechanic products with bad designs. Behrens unite art and industry by creating the machine aesthetic. Behrens transformed the concept of art. In describing the“Industriekunst”of the future, he pronounced the end of industrially produced art in the sense of the mechanical copying of traditional ornament, materials and craftsmanship. Instead of forcing new, mechanical appliances to conform to the formal and decorative norms of their hand-built precursors, Behrens sought to give them a new form appropriate to their nature and to the means of their production. It is important to examine the period and artistic medium that Behrens lived in, in order to conceive in which circumstances and influences this versatile artist's XIactivities occurred. Behrens' other artistic activities also clarify his process of industrial design. Behrens was also influenced strongly by the German philosopher and writer Friedrich Nietzsche and his studies. Due to this influence, Behrens reflected Nietzsche's ideas to his designs. It is easier to understand Behrens' work for AEG and industry by the help of Nietzsche's call for“A remodelling of the world in order to make it bearable to live in”. As a convinced Nietzschean, Behrens saw the artist as the rarely gifted being who could create an alternative to the delusions and mendacity of everyday life. As Nietzsche said:“There is only one world and this is false, cruel, contradictory, seductive, without meaning. A world thus constituted is the real world. We have a need of lies in order to conquer this reality, this truth.”By this means art becomes the meaning of proving and overcoming the truth. This is what Nietzsche called, will to power. Behrens comprehended and interpret the power and reality of industry and technology by art and design and this is parallel to Nietzsche's ideas. This thesis contains six chapters, first of which is the introduction. Since an artist can not be isolated from the period and environment he lived in, in the second chapter the artistic medium of the 19 century and early 20 century is considered. The artistic movements of the period are studied in chronological order in detail with examples in order to clarify their effects on Behrens' art. In 19* century a chaos occurred in cultural medium as the industrial system replaced the agricultural social system. This chaotic situation caused the eclectisism, which copied the early periods' artistic styles and this handicapped the artistic creation. When we look at the early 19th century art, we see a chaos due to revivalism and eclectisism. But soon some reactions began to protest this situation. Some of the artists came with the ideas of reform, saying that every period should have its own style in art. The first conscious reaction is from English artists; like William Morris, Philip Webb, with the Arts and Crafts movement. But this movement did not last long since it was against machinery and mass production. But it is important in the sense that it leads to Art Nouveau movement in Europe which tries to collaborate with the modern face of technology and the traditional expectations of art. We first see Peter Behrens in Art Nouveau. Art Nouveau brought new sense of form in Europe and by its approach of original and free creation. It helped the formation of fundamental ideas of modernism. Behrens was influenced by Art Nouveau manner and his studies related with this style took important place in his artistic career. England, as being the first country that lived the industrial revolution, was caught unprecautious to the fast development of industry and technology and it had to leave its leadership in art, design, architecture and industrial areas to Europe and U.S.A. Germany was aware of fast development of technology and industry as England was an important example for them. Although industry arrived late to Germany, industrialisation accelerated after national integration in 1871 and Germany became almost the leader in industry world. The artists, intellectual politicians, industrialists, XUdesigners, architects, writers in Germany conceived the problems, advantages and disadvantages of industry and so they established Deutsche Werkbund which was the first organisation where artists and businessmen came together. Their aim was to provide quality, functionality and simplicity in industrial products and to develop new forms in art suitable for mechanical production. Werkbund tried to form functional aesthetic. They rehabilitated not only the quality of the created products, but also the production conditions and quality. Werkbund resembles the approaches of Arts and Crafts Movement as they were both against the capitalism, which forced to produce bold, low quality, useless products ugly in appearance. But Werkbund was not against the industry as Arts and Crafts was. Werkbund believed to change this wrong process by being beside to industry. Behrens is one of the twelve artists that established the Deutsche Werkbund. Werkbund was able to spread the ideals of the modern movement and it leaded to the most important and determined movement of the early 20th century: Bauhaus. De Stijl in Holland was the first defenders of modernism and their rational ideas on art and design influenced Behrens. Bauhaus which came after De Stijl effected very strongly the art and design in 20th century. Gropius, who was one of the Behrens' assistants, was the founder of Bauhaus. Bauhaus defended that form follows function and refused historism and orientation. The tutors in Bauhaus were famous and important artists. The education system in Bauhaus is still used in art and design schools. The third chapter summarises Behrens' life and gives place to his own ideas about art and industry. In contrast to many other artists, Peter Behrens has always suggested his ideas and made critics of both his own works and the movements of his period. This chapter contains one of Behrens' articles in which he describes his ideas about art and industry. Peter Behrens as a painter (artist), as a graphic designer, as an architect and as an educator is examined in the fourth chapter. His works of art are explained with examples. Although Behrens was a many sided artist, his architectural activities and industrial design activities can be considered as his most important activities. It will not be wrong to claim that his architecture was as important as his industrial design works. Behrens began his artistic studies as a painter in the Kunstakademie in Karlsruhe in 1886. But later he found the applied arts more attractive. He made his first graphic designs, glass, porcelain, jewellery and furniture designs in 1898. In 1990, he began to work on his own house called the Behrens' House in Darmstadt. From the structure to the furniture, carpets, glasses, etc. he designed every little object of this house. Even if Behrens did not have an education as an architect, he has many important architectural works. Among his architectural works, his designs of festival theatres can be considered as his most important architectural studies. Even though they were not erected, they had great affect on other architects' later theatre designs. The temporary pavilions in many exhibitions had a great place in Behrens' xmarchitecture. He also designed hoses and villas with furniture. Later, when he began to work for AEG, he designed many factories and these buildings were the first and most significant examples of industrial buildings. Especially the Turbine Factory in Berlin is considered even today one of the most important monuments of industrial buildings of that period and it is under protection by the German government as a historical monument. Besides these, he had bridge designs, train station designs, etc. Behrens' architecture was influenced by Schinkelesque architecture and clasisism. Fourth chapter also considers the great architects Corbusier, Mies, Gropius who were Behrens' assistants at a time. Their works and the effects of Behrens on them are examined. The year 1907, in which he was asked to work as an art consultant in AEG, is a turning point in Behrens' life. He worked for AEG until 1914 and made industrial designs for the AEG products. His industrial design studies are the main subject of this thesis, Peter Behrens as an industrial designer is studied in the fifth chapter. The subject is considered under three main headings: Early works, AEG works and works after AEG. AEG, one of the biggest companies in Germany, collaborated with an artist and designer Peter Behrens and leaved designs of products to his hands by the help of foresight of the founder of AEG, who were Emil Rathenau and his son Walter Rathenau. This was the first enterprise of businessmen collaborated with an artist in Germany. This was the ideal of Werkbund. When Behrens was asked to work for AEG, he was not only asked to design the AEG products, but also the logo of AEG, the housing for the workers, the factories, posters and brochures, too. This versatile, creative artist has an important place in the 20* century art and design. Behrens is the one of the most important examples of self-taught architect and industrial designer. Behrens designed arc lamps, kettles, fans, clocks, electrical heaters, kitchen motors which can be considered as the first models of kitchen robots, etc. for AEG. Besides his works, Behrens as a theorist, considered how the relationship would be between art and industry from earlier times and these ideas came to life by designing products for AEG. He brought aesthetics to mass production and gave the first examples of how the relation should be between art and technology. It won't be wrong to define Behrens as a first modern industrial designer. He also brought his ideas about art and industry by teaching in art academies. He tried to explain the free creation of an artist and the opportunities of technology. Behrens had always been a versatile man. Even if some of his designs and projects were criticised, he always tried to find and create the best. Behrens as one of the precursors in industrial design, played an important role in the development of industrial design that have come of today. In the design of every object, whatever the object is, he followed a design process composed of the XIVintegration of functionality and aesthetics. This approach will be valid in everywhere, in every time and in every design. It will not lose its universalism. Today's industrial design process follows the same method. But, as in every period there are good designs and bad designs. The aim of design is to make a product that will cover the need of the market. Designed product is the object of the firm. Everything made for producing and selling the product. The product is the strategy of the work. Design is also directed towards to make this product. AEG behaved according to this idea. To consult Behrens' design and creation for developing public's taste and rising the standard of life was very radical approach in its period. In today's industrial design, this sensible attitude is not followed by many firms and bad designs full our shopwindows. However, the sensible approaches about the right and good design of the firms will rise the public's taste and when people buy a product, it would supply them to choose the right and good designs by the aesthetic care. To copy the designs of foreign countries' instead of the original designs prevent the development of industrial design in Turkey and the public taste progress in the direction of foreign products. Turkey has a long way to travel over in this area. XV

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