Abstract
Peter Behrens's enigmatic Dombauhütte at the 1922 German Exhibition of Applied Arts has received little scholarly attention. A small masonry pavilion revealing heavily sublimated iconographic references, it embodies aspirations for cultural renewal that have attended the motif of the medieval masons' lodge since Romanticism: the deep metabolism of religious life is imported into aesthetics as a Gesamtkunstwerk. In the absence of built and photographic resources, recourse is made for the first time to folios of Behrens's drawings. These make possible a complete rendering of the building, which uncovers the underlying geometric order governing the plan, elevation, and disposition of artifacts.
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