Peter Behrens (14 April 1868 – 27 February 1940) was a leading German architect, graphic and industrial designer, best known for his early pioneering AEG Turbine Hall in Berlin in 1909. He had a long career, designing objects, typefaces, and important buildings in a range of styles from the 1900s to the 1930s. He was a foundation member of the German Werkbund in 1907, when he also began designing for AEG, pioneered corporate design,graphic design, producing typefaces, objects, and buildings for the company. In the next few years, he became a successful architect, a leader of the rationalist / classical German Reform Movement of the 1910s. After WW1 he turned to Brick Expressionism, designing the remarkable Hoechst Administration Building outside Frankfurt, and from the mid 1920s increasingly to New Objectivity. He was also an educator, heading the architecture school at Academy of Fine Arts Vienna from 1922 to 1936. As a well known architect he produced design across Germany, in other European countries, Russia and England. Several of the leading names of European modernism worked for him when they were starting out in the 1910s, including Ludwig Mies van der Rohe, Le Corbusier and Walter Gropius. Biography Behrens attended the Christianeum Hamburg from September 1877 until Easter 1882. He studied painting in his native Hamburg, as well as in Düsseldorf and Karlsruhe, from 1886 to 1889. In 1890, he married Lilly Kramer and moved to Munich. At first, he worked as a painter, illustrator and bookbinder in an artisanal fashion. He frequented the bohemian circles and was interested in subjects related to the reform of lifestyles. In 1899 Behrens accepted the invitation of the Grand Duke Ernst-Ludwig of Hesse to be the second member of his recently inaugurated Darmstadt Artists' Colony, where Behrens built his own Jugendstil style house in 1901, and fully conceived everything, from furniture to towels, paintings, pottery, etc. The building of this house is considered to be the turning point in his life, when he left the artistic circles of Munich and showed himself to be a talented architect in his very first project. In 1903, Behrens was named director of the Kunstgewerbeschule in Düsseldorf, where he implemented successful reforms, developing new ways of teaching design. In 1907, Behrens and ten other people (Hermann Muthesius, Theodor Fischer, Josef Hoffmann, Joseph Maria Olbrich, Bruno Paul, Richard Riemerschmid, Fritz Schumacher, among others), plus twelve companies, gathered to create