Behrens received his art education at the Hamburg School of Arts and Crafts in 1886-1891, and later changed his profession to architecture, and became a member of the Munich Secession in 1893, and joined the Group of Seven, a group of artists, architects and designers, in 1900. In 1900, he joined the "Group of Seven", a group of artists, architects and designers, and began his architectural activities. In 1907, he became a promoter and leader of the German Manufacturing Union, and in the same year, he was hired as an art consultant for AEG, the German General Electric Company, and began his career as an industrial designer.
In 1909, Behrens designed AEG's turbine manufacturing plant and machine shop, which was called the first truly modern building for its architectural form, abandoning the traditional additions and decorations, and its simple, spectacular and pleasing shape.
In addition to architectural design, Behrens also did many product designs for AEG, such as electric kettles, electric clocks, and electric fans. These designs, without a hint of pretense or far-fetchedness, allowed the machines to speak their own language in the home environment. Behrens played a huge role in the centralized management of AEG, he was responsible for the company's architectural design, visual communication design, and product design, so that the large and complex company to establish a unified and complete distinctive image, the pioneer of modern corporate identity program, AEG's logo through his several drafts, and has been used today, one of the most famous symbols in Europe.
Behrens was also an outstanding design educator, and his students included Gropius, Mies and Corbusier, all of whom went on to become some of the greatest modern architects and designers of the 20th century.
Walter Gropius (1883-1969)
Born in Berlin to a family of architects, Gropius studied architecture in Berlin and Munich as a young man, and from 1907 worked in the firm of Behrens. He opened an architectural practice in Berlin in 1910 in partnership with Meyer, and the following year collaborated on the design of the Fagus factory, which featured a large glass fa?ade and corner windows.
In 1919, Gropius founded the National School of Architecture in Weimar, Germany, known as the "Bauhaus", with the aim of training new design talents. The school attaches importance to basic training, and gradually formed a plane composition, three-dimensional composition and color composition as the characteristics of the basic curriculum. The school advocated the unity of art and technology; emphasized both hands-on ability and theoretical literacy; emphasized that the purpose of design is human beings rather than products; and advocated that while mastering handicrafts, the school should understand the characteristics of modern industry and follow the laws of nature and objectivity in designing. 1925, due to persecution by the reactionary government, the Bauhaus was moved to Dessau, and Gropius promoted a number of outstanding faculty members, perfected the teaching program and facilities, and designed the new Bauhaus. Gropius promoted a number of outstanding faculty members, improved the educational program and facilities, and designed a new Bauhaus campus.
In 1928, Gropius resigned from the Bauhaus in response to various pressures, and in 1937, Gropius moved to Harvard University to become the head of the architecture department and to found the Concordia design office.
Gropius was the most important designer of the twentieth century, a design theorist and a founder of design education, and his influence on twentieth-century modern design is difficult to estimate.
Father of Fiat - Pininfarina (1893-1966)
Pininfarina was born in Dühring, the youngest of eleven children. As a child he worked in his older brother's workshop, and by the age of 17 he was designing the bodywork for the Fiat Zero.In 1920 Pininfarina traveled to Detroit, but he turned down a job offer from Ford and returned to Italy. Pininfarina had visited the Ford Motor Company's assembly line and was impressed, but he thought that Italy should follow a different path, one in which the United States mass-produced small, cheap automobiles, with the intended market being the general public, and the other in which high-class automobiles were produced only in small batches, keeping prices high, and maintaining the traditional Italian method of coachbuilding, where cars were semi-handmade. After the war, he opened his own automobile factory to design and produce premium small cars. He hoped to open a new line of production in addition to Fiat's American-style mass production. 1947 in New York's Museum of Modern Art, Pininfarina designed the Sicitali 202 car, known as "mobile sculpture". 1951, the United States Nash Corporation asked Pininfarina to design a variety of cars, which was the first time an American automobile company hired a European designer to design cars. This was the first time an American automobile company hired a European designer. After the death of Pininfarina, his son Saggio inherited his father's work and designed a series of Ferrari sports cars, which became the representative work of Italian industrial design and became famous all over the world.
Leader of German Art Nouveau--Welde (Henry Van de Velde, 1863~1957)
Welde was a Belgian architect and design educator who was more influential in his activities in Germany than in his own country, and at one time became a leader of the German Art Nouveau movement and one of the founders of the German Manufacturing Union one of the founders. He studied painting in Antwerp and Paris, and from 1891 he turned to architectural design under the influence of Maurice. While designing his own house in ückler, Brussels, he sought "non-decorative forms", suggesting that the decoration must be original, not historical, but also rational in its use of materials, and that it should be applied "rationally" to indicate the character and purpose of the object. In 1897, he co-founded the "Industrial Art Decoration Workshop" in Munich and Dresden, Germany, which relied on the cooperation of artists and craftsmen to carry out design and production, and in 1900 he was invited to be an advisor to the Grand Duke of Weimar, and from 1906 he organized the Weimar Municipal School of Arts and Crafts (the predecessor of the Bauhaus). He was also a design theorist and educator, and was known as the Morris of continental Europe. Although he claimed that all his crafts and decorative works were characterized by a single source, "reason". On the other hand, he insisted on the artistic individuality of the designer and opposed the limitations imposed by standardization, resisting Mutheus's claims to standardization at the annual meeting of the German Manufacturers' Union in 1914. This debate in fact represented the center of the aesthetic debate on design in Germany for a century. In the end Mutheus had to capitulate, which is indicative of his influence in the German design world.
Modern home interior design example--Jacob Jensen (Jacob Jensen, 1926~)
Jensen is a famous Danish industrial designer, born in Copenhagen, from 1942 he worked in his father's company as an interior decorator, from 1948 to 1951 in Copenhagen, studied at the School of Practical Art. From 1948 to 1951, he studied at the School of Practical Art in Copenhagen. After graduation, he worked in a designer's office, taught industrial design at the University of Illinois at Chicago in 1959, opened his own design office in Copenhagen in 1961, and began designing products for B&O in 1963, until 1993, when almost all of B&O's audiovisual products came from Jensen's hands. His design tends to "hard edge art" style, the use of brushed stainless steel and plastic and other industrial materials such as the production of the body, the shape is very simple and elegant, and easy to operate, the audio-visual products will be pushed to the international market B& O to the highest level. In addition, from 1979 to 1986, he also designed the famous "Logicar" for Danish J.P. Group, and from 1984, he started to design watches, ornaments and cars for Danish Max Rene Company, and from 1991 to 1993, he designed a series of kitchen equipments for German Gaggenau Company. His design maintains the consistent style of simplicity, elegance and brightness, blowing a fresh breeze into the international industrial design world.
Verner Panton (1926-1998)
Panton is a famous Danish industrial designer who studied at the Royal Danish Academy of Fine Arts from 1947 to 1951, and worked in Jacobsen's office before settling in Basel, Switzerland. . Panton was influential in creating many expressive works that explored the design potential of new materials. From the end of the 50s, he began to experiment with new materials such as fiberglass reinforced plastics and chemical fibers, and in the 60s, he collaborated with the American Miller Company on the development of an integrally molded fiberglass reinforced plastic chair, which was finalized in 1968. This chair can be molded once, with a strong sense of sculpture, color is also very bright, still enjoys a good reputation, by many museums around the world collection. Panton is also long in the use of new materials to design lamps and lanterns, such as the 1970 design of the Pantella lamps and lanterns, 1975 with plexiglass design of the VP spherical chandelier. At the same time, he is also a master of color, he developed the theory of quot;parallel colorsquot; that is, through geometric patterns, the chromatogram of the colors close to each other into one, for his creative use of new materials in the rich colors to lay the foundation.