Architectural analysis of Eduard-Müller-Krematorium by Peter Behrens

TYPES AND METHODS

Tippireddy, S.R. (Ramya) Nasrollahi, S. (Shirin)

CASE 07

Eduard-Müller-Krematorium Peter Behrens

Tippireddy, S.R. (Ramya) Nasrollahi, S. (Shirin)

CASE 07

Fig.1. Eduard-Müller-Krematorium Peter Behrens

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Fig.2.Model of Eduard-Müller-Krematorium

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Brief introduction

Behrens was a main part of Darmstadt’s style which was an interesting episode in his life. It sidelines the development of modern art and architecture in his personal works later in his life.

AEG, Behrens’ house, Linoleum pavilion, kunsthalle Oldenburg

and

Eduard-Müller-

crematorium

are among his famous architectural works.

Eduard-Müller-crematorium was designed in 1905 and built in 1907 when cultural changes about the burial of the dead body was arise and many activities were starting to happen to enhance the hygiene aspects of this issue. The building was not allowed to operate until 1911 when complete victory of this issue was achieved in the society.

For the first time, with the leverage of technology, all elements like aesthetics, hygiene and economic aspects were possible to be realized in the EduardMüller crematorium. It helped to realize the act of cremation by adding complex combustion apparatus and high chimney into the building without compromising the aesthetic aspects of the building or the hygiene.

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D R A W N A N A LY S I S

1. Basic drawings 2. Type 3. Construction 4. Geometry 5. Space 6. Representation 7. Form / Program

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1 . B A S I C D R AW I N G S

1. Basic drawings

1.1 Site plan 1.2 Floor Plan 1.3 Facade 1.4 Section 1.5 Isometric view

CASE 07 – DRAWN ANALYSIS

Fig. 1.1 - Site plan Scale 1:750

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 1.2.1- Ground floor plan Scale 1:200

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CASE 07 – DRAWN ANALYSIS

Fig. 1.2.2 - First floor plan Scale 1:200

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 1.3.1 - West north elevation Scale 1:200

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CASE 07 – DRAWN ANALYSIS

Fig. 1.3.2 - South east elevation Scale 1:200

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 1.3.3 - North west elevation Scale 1:200

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CASE 07 – DRAWN ANALYSIS

Fig. 1.3.4 - East south elevation Scale 1:200

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 1.4.1 - Section AA’ Scale 1:200

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Fig. 1.4.2 - Section BB’ Scale 1:200

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig.1.5.1 - Isometric view

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CASE 07 – DRAWN ANALYSIS

Fig. 1.5. 2 - Exploded isometric view

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2. TYPE

2.Type Analysis layers 2.1 Context 2.2. Façade Types 2.3.Building Types

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

2.1 Context Fig. 2.1 -Type of the building in terms of its relation to the context can be considered as free standing. In fact, the function of the crematorium demands a free space around it for cultural and hygiene reasons.

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CASE 07 – DRAWN ANALYSIS

2.2 Façade Types Fig. 2.2 - Comparision with typical greek temple

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

2.3 Building Types

Fig. 2.3.1 - Comparision with San Miniato al Monte, Florence floor plan.

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CASE 07 – DRAWN ANALYSIS

Main structure Corridor Fig. 2.3.2 - Comparision with San Miniato al Monte, Florence section.

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig.2.3.3- Comparision with San Miniato al Monte, Florence silhouette..

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3. CONSTRUCTION

3. Construction Analysis layers 1. Structure 2. Material 3. Grid

CASE 07 – DRAWN ANALYSIS

3.1 Structure

Columns

Fig. 3.1.1- Columns and structural walls are shown in ground floor plan.

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Load bearing walls

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 3.1. 2- Columns and structural walls are shown in first floor plan.

Columns Load bearing walls

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Fig.3.1.3-Primary beams are shown in ground floor plan.

Beams

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig.3.1.4-Primary beams are shown in first floor plan.

Beams

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Wood

Fig.3.1.5- Structure material is shown in AA section and BB section..

Stone

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Columns Secondary beams

Fig.3.1.6

Main beams

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3.2. Material

Marble flooring

Fig.3.2.1- Interior material is shown in ground floor plan and first floor plan.

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Mosaic flooring

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 3.2. 2- Interior material is shown in ground floor plan and first floor plan.

Wooden railing Wooden flooring

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CASE 07 – DRAWN ANALYSIS

Geometrical shapes painted in black & white

Fig.3.2.3- Interior material is shown in AA section.

Mosaic mural

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Geometrical shapes painted in black & white

Fig.3.2.4- Interior material is shown in BB section.

Mosaic mural

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Fig.3.2.5- Exterior material is shown in west north elevation.

Natural stone White and black marble

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig.3.2.6- Exterior material is shown in south east elevation.

Natural stone White and black marble

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CASE 07 – DRAWN ANALYSIS

Fig.3.2.7- Exterior material is shown in north west elevation.

Natural stone White and black marble

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Natural stone White and black marble

Fig. 3.2.8- Exterior material is shown in East south elevation.

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Primary grid 3.3. Grid

Secoundary grid

Fig. 3.3.1- Primary and secondary gird are shown in ground floor plan.

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 3.3.2- Primary gird is shown in first floor plan.

Primary grid

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Fig. 3.3.3- Primary gird is shown in south east elevation..

Primary grid

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 3.3.2- Primary gird is shown in west north elevation.

Primary grid

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4 . G E O M E T RY

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

4. Geometry

Analysis layers 1.Seymmetry 2.Proportion 3.Farctiles

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CASE 07 – DRAWN ANALYSIS

4.1 Symmetry Fig. 4.1.1- Site plan

Symmetry

Scale 1:750

Asymmetry

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 4.1.2- Ground floor plan, first floor plan, AA section and front elevation.

Scale 1:500

Symmetry Asymmetry

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7½ a

1¼a a

a

2a 5½ a

½a a 2a

4.2 Proportion Fig. 4.2.1- Front facde.

Scale 1:250

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a

a

a 1¼a

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

8¾ a

a

a

a

2a 5½ a

½a a 2a

Fig. 4.2.2- Sides elevations.

Scale 1:250

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a

a

a

a

a

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Fig. 4.2.3- Side elevation golden section.

Scale 1:250

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

4.3 Farctals Fig. 4.3.1- Front facade patern rules.

Scale 1:250

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Fig. 4.3.2- Side facade patern rules.

Scale 1:250

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 4.3.3- Front facade patern rules.

Scale 1:250

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Fig. 4.3.4- Front facade patern rules.

Scale 1:250

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 4.3.5- Side facade patern rules.

Scale 1:250

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5 . S PA C E

Space

Analysis layers 1.Visual connection 2. Light 3. Ciculation 4. Experience of space

CASE 07 – DRAWN ANALYSIS

5.1 Visual connection Fig.5.1.1- The building is located in a point where attracts all the visual connection to itself, while it

Strong visual connection

secludes itslef to the outside due to its compact form and limited openings.

Poor visual connection

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig.5.1.2- Visual connection of a person, standing in different points..

Geometrical shapes 64

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Fig.5.1.3- Visual connection of a person, standing in different points..

Geometrical shapes 65

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

5.2 Light Fig.5.2.1- Direct light can hardly peneterate this building through fiew windows which are locating Direct light

in front and back facade and serving the secondary spaces.

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Fig.5.2.2- The translucent albaster windows in both side of the building let the indirect light to enter the main hall.

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Indirect light

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Public stairs 5.3 Circulation

Semi private stairs

Fig.5.3.1 -Three category of stairs can be seen in this building; public, private and semi private.

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Private stairs

CASE 07 – DRAWN ANALYSIS

Public circulation Fig.5.3.2-In this buildng two kind of circulation are noticable; public circulation which starts from the front stairs and private circulation which starts from side stairs.

Private circulation 69

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

5.4 Experience of space Fig.5.4.1-The visitor’s point of view when he enters the building from the main entrance. In fact, in this perspective the altar is located in the focal point..

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CASE 07 – DRAWN ANALYSIS

Fig. 5.4.2-The visitor’s point of view when he enters the first floor of the building via the circular stairs. As in the ground floor, in the first floor the altar is located in the focal point of the visitor’s perspective.

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

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Fig.5.4.3 Ground floor view illustrating the spaces inside

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te iva Pr oom r

t ies Pr pace s n ll i or ha flo n ai d M roun g

ll

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Fig. 5.4.4- First floor view illustrating the spaces inside

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6 . R E P R E S E N T AT I O N

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6. Representation

Analysis layers 1. structure 2. opening 3.Patern

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Geometrical shapes 6.1. Structure.

Chimney

Fig.6.1.1-These geometrical shapes represent the structural elements of the building, primary beams and the sloped roof beams, which are approximately located behind them. Moreover, the chimney representing a campanile.

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CASE 07 – DRAWN ANALYSIS

Real opening 6.2. Opening.

Translucent opening

Fig.6.2.1- Just in front and back facade the building has real oppenings.

Representation of the opening

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 6.2.2- Although the building does not have a lot of windows it represents the feel of openness, thanks to the cleverly placed geometrical shapes.

Translucent opening Representation of the opening

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6.3. Patern Fig.6.3.1- Geometrical patern which are used on the interior walls speak the same language as the geometrical patern on exterior facades, ceiling and the furnitures.

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Geometrical shapes

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Fig. 6.3.2- Geometrical patern which are used on the exterior facades speak the same language as the geometrical patern on the interior walls, ceiling and the furnitures.

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Geometrical shapes

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Fig.6.3.3- Geometrical patern which are used on the ceiling and the lustres speak the same language as the geometrical patern on the interior walls and exterior facades.This fact represent the builidng as unified creature.

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Geometrical shapes

7. PROGRAM AND FORM

7. Program and form

Analysis layers 1.Type of Space 2.Use of space 3.Volume

Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Public Semi private

7.1. Type of space Fig.7.1.1- Degree of privacy is shown in different spaces in ground floor plan and first floor plan.

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Private

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Served space Serving space

7.2. Use of space Fig.7.2.1- Relation of served spaces and serving spaces in ground floor plan and first floor plan are shown.

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

7.3.Volum Fig.7.3.1- Evolution of the form from two simple masses can be seen in the image.

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Core volume Fig.7.3.2- Hieracrhy of importance of the volumes are shown in the picture.

Adjoing volume degree 1 Adjoing volume degree 2

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

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E S S AY

Monument of modernism with a background of historical architecture

Type: […] in order to understand the reasons

columns are representation of vertical supports

for them, is to discover their origin and primitive

of the temples. All these elements are honest rep-

cause. This is what must be called “type” in archi-

resentations of the main structure of the building

tecture, as in every other field of inventions and

with ornamentation on top of them. The same ap-

human institutions. [Vidler, 1977].

proach can be seen in the crematorium facades

The building Eduard-Müller-Krematorium by peter

where the simple geometrical shapes represent

Behrens is a clear example of design based on its

the main structure behind them. In a way the cre-

type. The main idea of the building was rooted in

matorium is a modern version of prevailing classi-

its primitive cause which is an entity for burying

cal and renaissance building of its time.

the dead and mourning. The floor plans convey this principle with central axis of ground floor having big crematory hall and gathering spaces in first floor.

The spacial arrangement of the crematorium somewhat resembles the San Miniato in Florence as Behrens took San Miniato as a type for his new design[Anderson, 2000]. As Quatremère de Quincy said in his essay about types “The art of regular building is born of a pre-existing source.

Everything must have an antecedent. Nothing, in any genre, comes from nothing.” [Vidler, 1977].

Therefore the crematorium is a combination of types of primitive cause and pre-existing building.

In typical Greek architecture pediment was a depiction of roof structure, entablatures were

Fig.8.1- Conclusion drawings - Comparision with typical

representation of horizontal support-beams and

greek temple

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CASE 1 – ESSAY TITLE

The structure of the building is simple with grid

two different approaches for geometry and

of columns and beams. It’s a rational structure

proportions in the building. Proportions that are

with honesty in its pure form. “It is, in any case,

arithmetically rational(1:1, 1:2, 1:3) which can

pure fiction that the architecture of antiquity, or

be read easily by common eye and proportions

that of the Middle Ages, was monolithic. Marble

arithmetically irrational(Golden section ratio 1:

was always used as a facing. Interiors were always

1.682…) which are hard to understand in single

rendered.” [Hans Kallhoff,1991]. The façades was

glance yet most pleasing to eye.

cladded with dark and light marble and interior

Proportions such as 1:1, 1:2 and 1:3 are satisfy-

was done in mosaic and simple geometric patterns

ing because they demonstrate self-determination.

which are in absolute proportion with exteriors.

[Wolfflin, 1886]. The facades, interior walls, ceiling, flooring and details have patterns with rational proportions(1:1, 1:2, 1:3 and 1:4).This are self-generating and follows the principle of fractal growth which is clearly visible on exteriors and interiors of whole building.

Fig.8.1.2- Conclusion drawings - Exterior and interior spaces rendered in marble

“Proportions essentially determine the character of a building.”[Wolfflin, 1886]. Having great knowledge on part and portion, Behrens used

Fig.8.2 - Conclusion drawings - Fractal growth

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Behrens also used the golden section in relation with length of the building to height making the facades most pleasurable and desirable proportions. “Therefore, the golden section with its proportion between restful matter and ascending force perhaps presents an average measure conforming to man.” [Wolfflin, 1886].

Fig.8.3 - Conclusion drawings - Symmetry

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Fig.8.2.2 - Conclusion drawings - Golden section in elevation Fig.8.3.2 - Conclusion drawings - Achieving symmetry

from asymmetrical functions

The building is an illustration of the monument and space inside gives the feel of the monumentality which has perfect symmetry. The main spaces

The facades of the buildings consists of different

of the building has equilibrium on both sides

components like geometrical shapes and patterns

although having asymmetrical functions. The

that represent different elements. The pediment,

interiors gives the observer a feel of uniformity

triglyphs and entablature represent the honest

and harmony because of the symmetry. This is

structure behind them and the geometrical shapes

clearly demonstrated in the ground floor where

on front façade produce the expression of the

the staircase is dressed with wall so that it can

windows[Peter Behrens and a new architecture

be seen as a room just like the room on the left

for 20th century, Anderson.S, 2002]. The chimney

side. Furthermore in the first floor the staircase

is in the manner of a campanile. The floor plans

left uncovered so that it can be symmetrical

and overall form of the building represents typical

with other side. We fare no better when we ask

basilicas and churches.

thoughtful architects; they call architecture an “art of dressing”[ Schmarsow 1893].

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CASE 1 – ESSAY TITLE

architecture.

In conclusion the Eduard-Müller-Krematorium can be said as a monumental building consisting of many bits of historical architectural types in itself and projecting modernistic style. Its a pioneer of its type manifestating the emerging modern architecture of its era.

Fig.8.4.2 - Conclusion drawings - Representing different elements of monumental structure

As there were no precedent for the function of the crematorium. Therefore, the architect must design something that be a model for the future crematoriums. Peter Behrens believed that a high idea can do more harm than good and the form of the building must not be something extraordinary but similar to the artifacts of that time while having a harmony with the playful nature of the site[Peter Fig.8.5 - Eduard-Müller-Krematorium

Behrens and a new architecture for 20th century, Anderson.S, 2002]. Above all, it seemed to him that the purpose of the building was clearly expressed to the outside. He demanded a monument with unity of the strictest monumentality and noble simplicity.

The facades consists of typical Greek temple elements and the ornamentation inside the building is somehow inspired from Islamic architecture[Peter Behrens and a new architecture for 20th century, Anderson.S, 2002]. The complete form of the building is a expression of basilicas and churches of that period. In fact, the building is a mixture of many elements from history of

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L I S T O F R E F E R E N C E S E S S AY

CASE 1 – ESSAY TITLE

List of References (APA 7th edition)

- Vidler, A. (1977). Type: Quatremère de Quincy. Oppositions, (8), 147-150.

- Hans Kallhoff (1991). The myth of construction and the architectonic - Wolfflin,A(1886).Characteristics of Proportions Prolegomena to a Psychology of Architecture - Schmarsow,A(1893).The Essence of Architectural Creation Anderson, S. (2002). Peter Behrens and a new architecture for the twentieth century. Cambridge, Mass.: MIT Press.

- De.wikipedia.org. (2019). Eduard-Müller-Krematorium. [online] Available at: https://de.wikipedia.org/wiki/ Eduard-M%C3%BCller-Krematorium [Accessed 13 Jun. 2019].

Borkopp-Restle, B. and Welzel, B. (2014).“Eines der wichtigsten Monumente unserer Zeit überhaupt”. Essen: Klartext.

Richardson, M. (1982). [Rezension von:] Windsor, Alan: Peter Behrens, architect and designer.

Deutsche-digitale-bibliothek.de. (2019). Situationsplan des Eduard-Müller-Krematoriums in Hagen mit projektierter Friedhofs- und Kolumbarienanlage - Deutsche Digitale Bibliothek. [online] Available at: https:// www.deutsche-digitale-bibliothek.de/item/7TO36ISEM5MANGIQ6MPYKD4QFHDZ7ZEO [Accessed 13 Jun. 2019].

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R E F L E C T I V E R E P O RT

CASE 07 – REFLECTIVE REPORT

Reflective Report Tippireddy, S.R. (Ramya)

best architectural solutions can be achieved with

The course Type and Methods has given me a

addition of new things. In my option this building

chance to understand true nature of ar¬chitecture

can be read as real time reflection of cultural

which is studying the history and proceeding for

differences, study of archetypes of that time and

the future. The course structure was based on

Behrens vision of modernism.

the relation of the lectures and the as¬signment.

In conclusion the lectures, handouts and deep

Indeed, the theoretical knowledge of the lectures

study of chosen case helped me to understand the

turned out to be the fundamental base for the

theory and history of architecture and connect

analytical research: the starting point to uncover

that with real time practice.

the architectural hidden layers of the Behrens building - Eduard-Müller-Krematorium.

Although the building was a step towards modern monument architecture of its time, very less documentation was available to analyse.

Furthermore its recent renovation, the original design of the architect was changed a lot. This forced me and my groupmate to make our own drawings and interpretations bases on old photos and few reliable materials. With self-made analysis drawings lot of hidden layers of design and logic behind them were carefully looked over.

The different lecture on main six topics helped us to the analysis deeper understand the true architectural essence of this building.

The fact that with upcoming cultural changes, new hygiene laws Behrens adopted technology into Crematorium at times when it is unusual.

This gave me a useful insight that sometimes the

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Tippireddy, S.R. (Ramya), Nasrollahi, S. (Shirin)

Reflective Report Nasrollahi,S. (Shirin)

Studying this course and looking at architecture

by looking at them it is impossible to understand

from windows of six different and interrelated

them completely.

topics as well as doing this assignment drive me

Most importantly analyzing the building from

into higher level of understanding architecture.

the six topics of this course provide us with

Analyzing the Eduard Müller crematorium helps

an opportunity to consider all aspects of an

us to look at architecture from the eyes of peter

architecture in a building which leads us to a

Behrens, who was an important figure for advent

profound understanding of the Eduard Müller

of the modern architecture.

crematorium.

Analyzing this building with its unusual function

In conclusion, Peter Behrens approach regarding

and absence of any precedent was a challenge

the design of a building with no actual precedent

for our group. Moreover, lack of enough drawing

was a pure practice of architecture which gave us

documents for this building also added to this

a brighter insight regarding this field and provide

challenge. These facts force us to investigate all

us with solutions to react towards the cultural

the photos that can be found for the building

changes which happen in society and challenges it

and try to think like the architect to recreate

creates as a result.

the drawings and visualize the building. Moreover, few literatures about the peter Behrens and his building gave us more insight regarding his consideration and perspective. For instance, in the drawings which we found, we could hardly find the golden section which is used in façade and plan while it is mentioned in literatures that golden section is considered. This information helps us to recreate the building and produce precise drawings from that. Furthermore, redrawing the building patterns help us to understand the logic behind them and what is they relation to other elements of the building. As a matter of fact, just

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