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Schinkel codified the screen, but Peter Behrens also was pivotal. Behrens's screens and screen-like works in their sheer number and diverse stylistic expression form a unique oeuvre. The relationship amongst the facets of Behrens's career is masked today by the fact that both these industrial façades were truncated during construction, disturbing their symmetry. The longer side is the precursor. It extends down a street so narrow that it is difficult to view the entirety. On site the pedimental short façade takes precedence, but the intended longer elevation is just as consciously composed around the cross axis. Truthfully, it is more symmetrical than the shorter face, since the annex introduces asymmetry there. Critics attach perceptions of formality only to the short face, regarding the longer as technical expressionism. But acknowledging the Turbine Hall's lateral, screen-like formality is important to understanding Behrens's later preoccupations.