b

ehrens was active in Berlin as an independent architect. In addition to factories, he also designed show pavilions for various clients,

mansions (including the Wiegand House in Berlin, 1911–1913), the Mannesmann office tower in Dusseldorf (1911–1912) and, finally, the most famous and grandest of his structures, the German Embassy on Isaakievskiy Square in Petersburg, Russia (1911–1913).

German Embassy in Saint-Petersburg, Russia, 1913

During this period, too, behrens worked as a

designer for other firms (Ruckert, Rhenische Glasshütten, Delmenhorster Linoleum Fabrik) and created typefaces for the Klingspor printery, the best

known of which is his Behrens Antikva (1907–1909), which was used for the aeg logo and most of its printed materials.

All of behrens’ work from the end of the first decade of the 20th century through the beginning of the second—from the factory

buildings to the typefaces—has a remarkable stylistic unity. In Munich and Darmstadt, behrens had been an artist of art nouveau. He was now a classicist. But his classicism was his own: the proportions and details of the columns of the embassy in Petersburg are not canonical; the metal ribs of the aeg turbine factory hardly betray their origin as caryatids. behrens rethought the classical canon, eliminating all non-essential detail in favor of the clarity and mathematical beauty of proportions, the firmness of contours, the emphatic solidity of the construction and the visible connection of the parts.

Behrens Antiqua Initialen font, 1908

aeg turbine factory in Berlin, built by 

peter behrens in 1909. © Getty Images