We continue with the Berlin’s representative buildings series and in this occasion we present a building located at Alexanderplatz: Berolinahaus, the Berlin’s latin name. Designed by architect Peter Behrens, in 1975 was designated German national heritage, it is one of the most representative buildings of the beginnings of the modernity.

Behrens was one of the most outstanding German architects; his discourse had so huge proportions that he became soon one of the first examples of the industrial architecture of his time. His studio was the benchmark for a entire generation of progressive architects as Walter Gropius, Aldolf Mayer and from Ludmig Mies van der Rohe to Le Corbusier.

Berolinahaus (Berlonia House) is the name of a high-rise building built between 1929 and 1932 at Alexanderplatz. Designed by architect Peter Behrens, the building is an extraordinary example of the classic modernity of the Neue Sachlichkeit’s style (New Objectivity), a German post-expressionist movement of the twenties.

In the 1920s, Alexanderplatz was alredy one crowed square, where the public transport stood out. By this time the overcrowding was a growing problem, so the city construction councillor decided to put the reconstruction plan out for tender. Hans and Wassili Luckhardt bothers were the winners. The investor of the project, who disagreed with the plans of the Luckhardt bothers, decided to give the plan to the winner of the second prize: Peter Behrens. The economics difficulties due to the emergent national-socialism in addition to the Great Depression stopped the project. Behrens planned to close the square with a group of buildings, but he only could make Alexanderhaus and Berolinahaus, that were completely built before the halt.

The construction of the buildings started in September of 1929, under hard conditions in a high density area. The Berolina House was one of the first German buildings planned as a visible reinforced concrete framework. For the laying of foundations, the subterranean waters had to be pumped during three years and a tough concrete housing of 1.20 metres thickness were placed into the sandy land. After a two years building period, the Berolinahaus opened the floodgates in January of 1932.

One of the first tenants of the building was the textile firm C&A that occupied the first and second floor. The damages caused by the Second World War were not serious, for this reason, the soviet headquarters were moved there. In 1952, the Berlin city council changed there and the administrative authorities later. At the beginning of the fifties the building was renovated, but the original Behren’s construction plan was not respected that is why just the grid of the concrete framework remained.

The authorities left the building in 1988 and it stayed empty for the following seven years. In 2004 the owner sold it to a state agency, which started immediately the renovation focused on recover the original appearance. The construction were carried out from 2005 to the 6th of September of 2006, by the architect Sergei Tchoban  with a 25,5 million Euros cost.

The building

The Berolinahaus building is located at a rectangular square of 74 metres long and 22 metres wide. The eight-storeyed building has 30,3 metres height up to the terrace roof. It has two floors 8 metres under the street level, having access to the underground network. The façade is enslaved by square windows forming group of three in the south-transverse side and group of two in the sides. By dividing the window cases into four squares, whole the façade seems a symmetrical structural framework of holes. The northwest transversal façade of the building had originally no windows and was of use as a fire protection wall, nevertheless during the last renovation, a triangular glass large window, that stands out from the façade and expands across two storeys, was added. The building has a 16.500 square metres built area, of which 5.200 square metres are shopping area and about 7.000 square metres are available business space.

A vertical frosted glass light box rises up in a transversal way on the roof terrace, which stands out from the façade, and it presents itself on a level with the first floor and it extends throughout the structure. The entry hall of the building is coated with dark material as the external façade of the ground floor. The covering of the hall is made of polishing brass and the handrail of the stairs is working of precious metals. The floor is made of black granite. The basement is decorated with green-turquoise blue glazed pottery stones.

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Peter Behrens.
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Branly Pérez.
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Peter Behrens was born on the 14th April 1868 in Hamburg, Germany, within a wealthy family. With 14 years he became orphan, being Karl Sieveking, a member of the prominent families of the city senator, who asumed his tutelage and his only brother's.

Between 1886 and 1889 he studied painting at the School of Art in Karlsruhe, studies that were completed later in Düsseldorf in the year 1889. A year later he gets set in Munich, after a trip through Netherlands, where he worked as a painter, commercial artist , photographer and designer.

In April 1892 he founded the Munich Secession (Verein Bildender Münchens Künstler e. V. Secession) with Franz Stuck, Max Liebermann and Corinth Lovix, among others. Subsequently, the Vereinigte Werkstätten create für Kunst im Handwerk (united by art workshops in crafts), very avant-garde in that year of 1897.

Two years later he abandoned the painting fiesld to design jewelry, furniture, glassware and porcelain. His work will be exhibited at the Keller and Reiner Gallery of Berlin, the Gaspolat Kunsteverein Munich and Darmstadt. In 1900 he was invited by the Duke Ernst Ludwig of Hesse to join the newly formed Colony of Artists of Darmstadt, where he will be teaching until 1903. It was actually in this place where he made his first architectural work: his home in Colonia,  whose interiors were destroyed in 1944 during a fire, being restored by its owner, Auguste zu Höne.

In 1903 he moved to Düsseldorf, where he became director of the Kunstgewerbeschule (School of Arts and Crafts). Five years later he became part of the Deutscher Werkbund due to the similarity of ideas he shared with its members. That same year he was named artistic adviser of AEG (Allgemeine Elektrizitäts- Gesellschaft), moving to Berlin.

It was precisely for AEG to whom he made the most recognized of his work, also helping to strengthen the idea of corporate identity. Behrens proclaimed the union of art and industry, in line with the ideals of Hermann Muthesius when founding the Deutscher Werkbund. In the years immediately following, his office will receive Walter Gropius, Adolf Meyer, Ludwig Mies Van der Rohe and Le Corbusier, being a recognized influence, as show by Gropius himself in his book 'The new architecture and the Bauhaus'. In 1914 he joined the Manifesto of university professors and German scientists, and took part in 1927 in the exhibition organized by the Werkbund in Welbenhof. Between 1922 and 1936 he served as a professor at the School of Architecture of Vienna. In addition, in 1936 he became the director of the Department of Architecture of the Prussian Academy of Arts in Berlin.

He will die on February 27, 1940 of a heart attack at the Hotel Bristol in Berlin, where he was staying after scaping from the cold of his countryside house.
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Published on: December 18, 2016
Cite: "Berolinahaus at Alexanderplatz by Peter Behrens" METALOCUS. Accessed
<http://www.metalocus.es/en/news/berolinahaus-alexanderplatz-peter-behrens> ISSN 1139-6415
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