Rudolf Steiner's Design Principles and Methods for Manufacturers

Rudolf Steiner and The Associated Manufacturers: Architectural Principles and Design Methods on The Associated Manufacturers

2010 Graduation Thesis

Advisor Prof. Darko Radovic, Prof. Jorge Almazan

Keio University Faculty of Science and Engineering Department of System Design Engineering 60720306

Minoru Matsui 1

Contents Chapter 1. Introduction.

1

1.1

1.2

Background: Rudolf Steiner.

1.1.1 Who is Rudolf Steiner?

1.1.2 Why is his works worthy of researching?

The manufacturers following Steiner.

Why are they worthy of researching?

Objects.

Methods.

Structure of the Thesis.

3 3 4 6 6 7 7 7

Chapter 2.

Literature Review.

2.1 A Study of Steiner infant education space in Japan.

2.2 A Study on The Educational Environmento[sic] and The Educational Philosophy in Steiner’s [sic] School.

2.3 The “Metamorphose” of the Organism and Human Formation

2.4 Literature review on Waldorf education.

2.4.1 Follower’s attitude toward education

2.5 Schroff, Lois. A Painter’s Handbook:

Experiencing Color between Darkness and Light .

2.6 Form Drawing.

2.7 Steiner’s 6 architectural works.

2.7.1 Interior design for a Munich Theosophy Conference Floor (1907).

2.7.2 Modelhaus (1908-9).

2.7.3 The Ground Floor

Theosophy Conference Hall in Stuttgart (1911-1912).

2.7.4 The Johannesbau project.

2.7.5 The first Goetheanum.

2.7.6 The second Goetheanum.

2.8 Design Theory.

2.9 Benjamin: Destruction, Anthology, and Recollection.

2.10 Rhizome.

Chapter 3.

3.1

9

10

12 14 15 16 20 25 29 29 30 32 33 34 37 41 41 43

Analysis of Principles and Design Methods by Steiner. 45 Root: 4 General principles.

3.1.1 A new architectural style. (1914.6.17,1914.6.28) 3.1.2 Chromatics.

i

46 47 53

3.2

3.3

3.4

3.1.3 Christianity.

3.1.4 Metamorphosis.

Trunk: Design Principles in 3 stages.

3.2.1 First stage (around 1907-1914) 3.2.2 Second stage (around 1914-1925) 3.2.3 Third stage (1923.12.31-1925.3.30) Branches and leaves: Design Methods.

3.3.1 The fundamental strategy.

3.3.2 The design method for windows.

3.3.3 Materiality: Wood or Concrete?

3.3.4 The design strategy in the second Goetheanum.

3.3.5 Utility and Programme.

3.3.6 Materiality: Form figuration.

3.3.7 The second Goetheanum: materiality.

Analysis of the design of Associated Manufacturers.

Margarete Ostheimer GmbH Hans Stockmar GmbH & Co. KG. Camphill Botton Village Choroi Instruments Interior Decorations Others in Waldorf education

Chapter 4.

Discussion.

54 60 60 61 66 67 69 69 71 73 74 75 75 76 77 79 80 81 82 83 84

86

4.1 3 Organized Matrixes.

87

4.1.1 Architectural Works by Steiner 88

4.1.2 Architectural Works by Disciples 89

4.1.3 Products by Associated Manufacturers 90

4.2 Discussion on Steiner architecture.

91

4.2.1 A Synthesis of Principles: Middle Way. 91

4.2.2 Discussion on the architectural material adoption.

95

Contextualism of Steiner architecture 95

4.2.3 Discussion on the emphasis on the process of productions.

96

Discussion on the processes of metamorphosis.

96

Discussion on the visualization activities.

99

4.3 Discussion on CI. 100

Discussion on an aspect of Collective Intelligence (CI) or participatory design. 100

ii

Trial and error design strategy.

4.4 Discussion on the Influence of Rudolf Steiner’s principles and

design methods: A Synthesis of The Designs.

4.4.1 Comparison between Architectural Works and Toys.

4.4.2 From Shared Principles via

Shared Designs toward Shared Identity.

4.4.3 Autonomic Evolving Designs: Flowform.

Chapter 5.

Project and Conclusion.

100 101 102 104 104

107

Conclusion

110

Reference

111

Bibliography

116

Acknowledgments

117

A. Appendix A.1 Ostheimer A.2 Camphill A.3 Schwarzwald A.4 No Brand (Christmas Set): Waldorf School of Penninsula A.5 No Brand (Gnome): Waldorf School of Penninsula A.6 Drei Blätter, Mushroom A.7 Waldorf Figures A.8 Lyra, Stockmar A.9 Choroi A.10 Straw Plaiting A.11 Himmeli A.12 Weleda A.13 Playing Silk Clothes

iii

118 119 129 130 131 132 138 138 143 147 147 148 150 150

Chapter 1. Introduction

Chapter 1. Introduction.

1

Chapter 1. Introduction

fig. 1 “Anthroposophic Cosmology” Drawn in 1921.10.9 (Steiner et al., 1996:14)

“If you want to acknowledge the universe, look at thyself.

If you want to acknowledge human being, look at the universe.”

D=thoughts, F=emotion, W=will.

Blue spiral=movement of the universe flowing from past.

Orange spiral=movement of the universe heading to the future.

2

Chapter 1. Introduction

1.1

Background: Rudolf Steiner.

Rudolf Steiner is unexpectedly unrecognised as a designer. While many of people who are concerned with architecture know the name, Rudolf Steiner has not gained broad attention from everyone yet. In this section we reveal the importance and the potential his works have toward future design.

1.1.1 Who is Rudolf Steiner?

Rudolf Joseph Lorenz Steiner (1861.2.25-1925.3.30) was an architect, philosopher, educator, painter, sculptor, script writer, esotericist, occultist, and Anthroposophist. Highly regarded for his education system, commonly known as Waldorf education, he has also created masterpieces in various field of design, ranging from his blackboard drawing, via paintings and sculpture, to architecture.

fig. 2 Steiner in his Young Days and His Signature (Agematsu, 1985.)

Steiner intended his architecture to be a Gesamtkunstwerk (a synthesis of the arts). Though the Bauhaus movement also intended architecture as an integration of the arts, the outcome of both architectural activities are pretty much different. While the Bauhaus movement eventually found functionalism as an answer, Steiner achieved his original objectives. His architectural works and a sculpture work play the central part of the thesis, and thus we review the literatures in Chapter 2.

3

Chapter 1. Introduction

1.1.2 Why is his works worthy of researching?

The neglected designer and artist, Rudolf Steiner, has not been researched what he would have deserved. In spite of the disregard today, Steiner actually influenced the Europe for a while and used to be famous enough to be accused by Adolf Hitler. The influence of Steiner is not only limited to his disciples. According to Agematsu (1974:292-323), Steiner influenced well-known artists including Franz Kafka(1883-1924), Wassily Kandinsky(1866-1944), Piet Mondrian(1872-1944), and Richard Neutra(1892-1970).

Le Corbusier(1887-1965) visited the second Goetheanum under construction in 1927. The second Goetheanum is regarded as a pioneering work of concrete construction. As opposed to the Einstein Tower by Mendelsohn and Neutra, the second Goetheanum was constructed exclusively with concrete. “‘Looking at the west façade of Goetheanum being under construction, Le Corbusier called out “you should leave it as it is!” [...] He observed the whole buildings with great interest, saying ‘oh, la! la!’ over and over again. [...] He said that the Heizhaus [later discussion] looked like a cutlet of lamb.

And with complete sober face, he said that the Goetheanum was impressing. [...] Le Corbusier, I think, fostered the impression from the Goetheanum through his life and later on it got visible, yes, in the Church in Romchamp’(Agematsu, 1974:324)”

fig. 3 Floor Plan of La Chapelle de Ronchamp by Le Corbusier (Le Corbusier, 1957).

4

Chapter 1. Introduction

fig. 4 Perspective View of La Chapelle de Ronchamp by Le Corbusier (Le Corbusier, 1957).

We do not discuss the influence of Rudolf Steiner upon Le Corbusier or any others in this article. Still, considering how influential the Ronchamp (constructed in 1954) has been to this day, what ‘ancestor’ Rudolf Steiner did in 1924 is worth researching.

Frank O. Gehry(1929-) also visited the Goetheanum while the construction of Vitra Design Museum. According to Igarashi (1998) and Walfgang Pehnt in Steiner et al. (1996:143), Gehry visited the second Goetheanum while he was making conception for the concrete sculpture for the museum.

fig. 5 Model for Vitra Design Museum (Dal Co et al., 2003)

5

Chapter 1. Introduction

fig. 6 Perspective View of Vitra Design Museum (Dal Co et al., 2003)

1.2

The manufacturers following Steiner.

We deal with some of the manufacturers related to Steiner. The field is actually so vast that we choose the followers outlined below.

1. Ostheimer: a German handcraft wooden toy manufacturer with handicapped employees.

2. Stockmar: a German beeswax crayon, and watourcolour painting manufacturer.

3. Camphill Botton Village: a British movement for a community by mentally handicapped and healthy people producing handcraft wooden toys.

4. Choroi Instruments: a German Lyre and harp, wooden flute manufacturer with handicapped employees.

In addition to those manufacturers, we analyse various sorts of products that are used in Waldorf education. The reason why we choose those 1.-4. manufacturers is that they clearly admit they are following Steiner’s principles.

Why are they worthy of researching?

As the management of companies diverse, establishing a concurrent identity and image of the manufacturers, especially the big corporations, is one of the most pressing needs for them.

In Chapter 3, we clarify the direct connection of Steiner and his manufacturers in sense of principles and methods. In Chapter 4, we point out the possibility of Steiner’s followers’ way of establishing it might be a part of the answer.

6

Chapter 1. Introduction

Objects.

We have three fundamental objects in the thesis.

1. To clarify Rudolf Steiner’s design principles and methods from his works.

2. To clarify the direct or indirect influence of Steiner’s design principles and methods over the following manufacturers’ various sorts of design.

3. To establish a new perspective of synthesizing the concurrent identity.

Methods.

It is not easy to reveal the flow of design handed down from father to sons, without any previous researches with clear focus on the topic. Therefore the method we adopt is fairly primitive yet comprehensible.

1. Literature review. Although there have not been enough researches, we still have plenty to extract and establish the fundamental principles and methods from them. -Chapter 2.

2. Photo analysis of the manufactured products. - Chapter 3.

3. Matrix analysis of 1. and 2. -Chapter 4.

Structure of the Thesis.

In this thesis we first discuss the unique architecture and other works including Waldorf education in Chapter 2. Analysing the processes behind the artistic work, we clarify his consecutive flow starting from anthroposophy via anthroposophical principles, design principles, design methods to the works in Chapter 3. After that, we discuss the overall influence of Steiner’s works, especially the architecture, upon the design principles and design methods of his manufacturers in the latter part of Chapter 3. We pick up various products derived from Waldorf education, various architectures derived from Steiner architecture, and various graphic design cases. With those results revealing the inseparable relationships between Steiner and those designs in the beginning of Chapter 4, we discuss the possibility of interpreting the whole system working as a kind of Corporate Identity through the discussion on his unique perspective of the world (4.2) . Although his ideas are clearly different and confront to that of “corporate,“ we conclude that his way of structuring the design synthesis (not unification) is strongly lighting a new way of design.

7

Chapter 1. Introduction table 1 Chronology of Rudolf Steiner (Source: Carlgren et al. (1996), http://wn.rsarchive.org/Lectures/GA258/English/RSP1993/AntMov_chrono.html)

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Chapter 2. Literature Review

Chapter 2. Literature Review.

9

Chapter 2. Literature Review

There have not been enough researches on Steiner and his architectural works. Literally no one is researching the toy makers, presumably just because toys Here we review some of the few previous researches related to Steiner architecture.

We separate the chapter into 4 in order to make it easier to comprehend. a. 2.1 – 2.3: Japanese Thesis: Kindergarten architecture, Waldorf school architecture, and Goethe. b. 2.4–2.6: Literatures on Waldorf education: Overview, watercolour painting, and Form Drawing. c. 2.7: Review through Steiner’s architectural career. d. 2.8-2.10: Associated readers: Corporate Identity, Walter Benjamin’s perspective, and future

2.1

A Study of Steiner infant education space in Japan.

A Study of Steiner infant education space in Japan-The relation between the educational ideas and space[sic]-Kawakami, Masamichi et al. 1998.

This article focuses mainly on the relationships between Waldorf education principles and the architectures of Waldorf education kindergarten. The authors interviewed eleven educators of Waldorf kindergarten in Japan and three architects for those facilities. From the result the authors organised the principles and space. The authors then discuss the present conditions of facilities. According to Kawakami, the principle of education classified into three elements. i.) Stabilization of spirit.

In childhood human souls, which are divided into four, are infant. For the sake of good growth, they intend to stabilize the soul without acting to them directly. ii.) Cultivation of body.

Through diverse experience of feeling from the world of nature: seasonal tables, sand pit, ponds etc.

Architectural forms that work upontheir feelings: lintel, high roof etc.

10

Chapter 2. Literature Review

fig. 7 Examples of high roof in Freie Waldorfschule Heidelberg (Agematsu, 1998:179).

iii.) Education of will.

To install some spaces such as:

a.) a kitchen As a work space for adults, a kitchen in a Waldorf kindergarten classroom is an objective of imitation.

b.) a small compartment, a temporary corner Small segmentation of space reconstruct the atmosphere of home.

c.) a spacial device Spacial devices are to make children aware of their action.

All a., b., c. are for bring up their will.

Then the authors discuss spacial principles in Waldorf kindergartens.

A.) Morphology. (Later defined as Principle of Weight and Support, Design Method of Chamfering, Filleting, and Organic Shapes) “The form [of classrooms] are closely related to i. )stabilization of spirit and ii.) cultivation of body. To children who have no concepts, the whole surrounding such as walls and roofs should intend to equally wrap them around with harmony, and thus should be in obtuse angle.”

B.) Theory of Colour. (Later defined as Principle of Chromatics in Chapter 3) “Colour [of classrooms] are related to i.) stabilization of spirit. With the interior painted in pink, children get calm green colour inside their heart.”

11

Chapter 2. Literature Review

C.) Interior Space Principle. (Later partly defined as Jelly Cup Principle.)

“Interior space is related to ii.)cultivation of body and iii.) education of will. [...] To have his own space, [...], to restrict the apertural area to make [a classroom] as an interior space to concentrate to their play and to separate from exterior space.”

D.) Materiality.

“Materiality is related to i.) stabilization of spirit and ii.) cultivation of body. To use natural materials that give a multiple of emotional experience.”

E.) Exterior Space Principle.

“Exterior space is related to ii.) cultivation of body and iii.) education of will. To produce a natural field where they can experience elemental.”

2.2

A Study on The Educational Environmento[sic] and The Educa-

tional Philosophy in Steiner’s [sic] School.

Kobayashi, Kiyotaka; Tkahashi, Atsushi. A study on the educational environmento [sic] and the educational philosophy in Steiner’s [sic] school. 日本建築学会大会学術講演梗概集 （関 東）2001.9 pp. 19-20 Japanese Title: R・シュタイナーの思想と建築から見た教育環境 In this article Kobayashi et al. introduce the design methods in Waldorf schools.

1. The form of classrooms grow along the growth of students.

fig. 8 Diagrammatic Concept by Jens Peters in BPR (Agematsu, 1998)

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Chapter 2. Literature Review

fig. 9 Application of the Diagram: Classroom Plans for Waldorf Schule Heidenheim (http://wildgreenyonder.files.wordpress. com/2007/05/classsroom-shapes.jpg)

Waldorf classroom starts with hexagon, a geometry that is close to the circle and thus cover children gently. Then classroom slowly becomes angular and eventually becomes perfect rectangle in 8th grade.

This is based on the idea of Goethean theory of evolution, which starts with Urpflanze (perfectly simple archetype) and evolves into more complex form, and then get simpler again, but not the same simplicity as it is used to be before. The simplicity after complexity gains a higher simplicity than before (Agematsu, 1974).

From 9th grade, the starting point of the latter part of the 12 years of Waldorf education, the form gets round again. It appears that the complexity drops off as it gets rectangular and then leap upward as again, but it is not the case with Steiner. For Steiner, circle is the simplest and perfect form (see 3.1.1 iv. for more details).

2. The colour of classrooms changes as the grade moves into upper one.

fig. 10 Diagram of Goethean Chromatics and Corresponding Grades.

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Chapter 2. Literature Review

2.3

The “Metamorphose” of the Organism and Human Formation

Sekimata, Yoriko; Matsumura, Keiko; Sakae, Reiko; Uemura, Yuuko. 2003, The “Metamorphose” of the Organism and Human Formation: The Deperture[sic] from Goethe’s “Morphology”.

Kagawa Prefectural College of Health Sciences. No. 5, pp. 141-148.

In this literature the authors explain the descending ideas from Goethe to Steiner and its evolution originated in Goethe. Although Steiner was strongly influenced by Goethe, he did not follow Goethe blindly. Rather, Steiner developed additional principles over Goethe.

“Steiner points out that the philosophy of Goethe lacks ‘transition from the experience in nature toward that in spirit“ and that the way of acknowledging has its own limits. Steiner goes further to investigate the field where Goethe would not step in. [...] In 1897, Steiner finishes his work on Goethe in Weimar by publishing ‘Goethes Weltanschauung (Goethe’s Perspective of The World).’ (Sekimata et al., 2003:143)” Weimar was where once Goethe served as the Chancellor and where J.S. Bach once served as a court musician. “ [...] Steiner interprets the mechanism of acknowledgement as follows.

Mechanism of acknowledgement by Goethe 1st phase: To observe things in the outer world. ‘To perceive.’

2nd phase: To know intuitively the ‘idea’ of the things. ‘Intuition - emotional component’ 3rd phase: To think about the intuition. ‘Self intuition - philosophical component’ On the third phase, Steiner insists that ‘Goehte lacks an organ to look at the deepest original nature of human being and to observe oneself.’ (Sekimata et al., 2003:144)” After that, Sekimata et al. (2003) explains briefly on the Goethe botany. “In 1787, Goethe finds the principle of growth and reproduction of plants. He calls ‘internal form’ of all plants ‘a type (Typus).’ A leaf is the fundamental organ, that is to say prototype, and therefore the form of all the other organs of plant are transformed leaves. About this plasticity, Goethe generates a hypothesis: ‘all are leaves. And with their simplicity, they gain the best diversity.’

Constructive organs repeat ‘will to form’ (rising up) and ‘shrinking and expanding’ (polarization) with their complex[sic] and upgrading. That is to say, leaves get refined under the condition of surrounding environment to mutate into various organs such as calyx and petal. [...] This is exactly the transition of going beyond (meta) the form (morphe). (Sekimata et al., 2003:145)”

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Chapter 2. Literature Review

2.4

Literature review on Waldorf education.

Citation: Carlgren, Frans; Grosse, Rudolf; Weissert, Erns; Klingborg, Arne. 1982, Erziehung zur Freiheit: dd. Pädagogik Rudolf Steiners; Bilder u. Berichte aus d. internat. Waldorfschulbewegung. Takahashi, Iwao, Takahashi, Hiroko Trans., Stuttgart, Verlag Freies Geistesleben, 210p. Japanese Title: 自由への教育 〔日本語版〕 ルドルフ・シュタイナーの教育思想 と国際ヴァルドルフ学校運動の教育実践 .

Steiner, Rudolf; Oberhuber, Konrad; Kugler, Walter; Pehnt, Wolfgang. 1996.11.30, RUDOLF STEINER BLACKBOARD DRAWINGS - WHEN EARTH BECOMES MOON. Takahashi, Iwao, Trans., Kugler, Walter, Ed., Tokyo, Chikuma Shobo, 154p. Japanese title: ル ドルフ・シュタイナー 遺された黒板絵 .

Steiner worked in so wide range of activities that it is impossible to have a quick look on all of them. For the sake of compactness, here we introduce one of them, Waldorf education.

Because this thesis focuses on the design side of Steiner’s works, we do not introduce the education system in details, which is so vast.

Waldorf education contains enormous amount of Steiner design. He himself had lectured to his disciples. The famous blackboard drawings bring down the atmosphere of the lectures as seen below. In this thesis we quote his blackboard drawings and the lectures several times.

fig. 11 “When We Go Back along Time” drawn in 1923.12.1 (Steiner, 1996:25)

Here we review an introductory reader explaining the basic methods of Waldorf education.

Carlgren et al. introduce actual form drawings, watercolour paintings, epoch notebooks (special notebooks with paitings and drawings along the classes, imitating the blackboard drawings by their teachers), portrait shots of classes, and so on.

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Chapter 2. Literature Review

2.4.1 Follower’s attitude toward education The episode from the book might tell the nature of Waldorf education most explicitly. As seen in Chapter 1, Waldorf education is based on Steiner’s philosophy and thus the followers put their best effort in complying with Steiner. However, they do not just follow Steiner blindly. Take “The Earth was Once a Gigantic Beast.“ Although they do appreciate the philosophy of Steiner, they adopt the idea that today’s recent study has shown, which is that the earth is (at least in a practical side) not dead (Carlgren et al. 1982:161).

fig. 12 The Living Earth. From Epoch Notebook around ninth grade. (Carlgren et al., 1982)

This incredible flexibility they have achieved is the characteristic of almost all organisations associated from Steiner. If needed, they even clearly deny what their ‘professor,’ Steiner, said.

As Niederhauser (1983) insists, it is impossible to ignore the philosophical part of Stiner and only to adopt his educational system. Instead, today’s Waldorf education organisations seek the way to harmonize the anthroposophy and cutting-edge science. See Carlgren et al. (1982) for more details.

16

Chapter 2. Literature Review

fig. 13 “The Earth was Once a Gigantic Beast” drawn in 1922.9.20 (Steiner, 1996:24)

“The earth was once a gigantic beast. Speaking from the size, it was fairly lazy rolling around the axis slowly in the cosmos. But the beast was watching the cosmos through a dragon, which only existed as an eye. And eating fire as I have told before is very close to the function of stomach and guts in human body. And the dragon is out of the same mould of brain cells. Today’s earth is a dead beast. (Steiner, 1996:24)” The curriculum of Waldorf education as follows show the unique character of the system, containing unusual classes such as Eurhythmy and form drawing.

17

1st

2nd

3rd

4th

5th

6th

7th

8th

9th

10th

11th

12th

Eurythmy

18

Metalwork

Architecture

Water Colour Painting

Form Drawing

(to Geometry)

Black&White Painting

Contrasting

Portrait Sketch

Colour Painting

Colour Painting

Curriculum of Artistic Classes

Literature

Recitative

Theatrical Show

5 min. Skit

Parables, Hagiology

the Old Testament

Norse Mythology, Edda

Greek Mythology

King Arthur

Greek Mythology

King Arthur

Music

Epoc Notebook

Image to Letters

Pictogram Writing

Reading

Parables, Legends

the Old Testament

INDIVIDUAL Research Task

Annual Self-chosen Individual Research

Spontaneous Reading

Norse Mythology

Large Scale Show on Stage

Recitative

Clay Modeling

Woodwork Modeling

Handcraft

Sculpture

Free Sculpture

Music

Choir

Music History

Classical Shows

Foreign Language

1st

2nd

3rd

4th

5th

6th

7th

8th

9th

10th

11th

12th

Chapter 2. Literature Review

1st

2nd

3rd

Worldwide History

History of Rome

History in 15c, 16c

History

Geography

Logarithm

Humanics

Biology

Form Drawing

Geometry

Zoology

Arithmetic Practice

Times Tables

Neurology

Cytology

Botanical Cytology

Botany

Macroscopic Evolutionism

Full-scale Figure Drawings (to Put Flesh on Clay Modeling )

Euclidean Geometry

Series

Drawings w/Compass and Ruler

Practical Knowledge

Agriculture

Architecture

Mineralogy

Meteorology

Astronomy

Geological Science

Geographic Economics

Theory of Functions

Limit, Infinity

Set Theory

Plane Geometry Goniometry

Projection Perspective Geometry of Curved Surfaces

Hometown Research

Literary History

Modern Industry

History of Art

(Music History)

(Architecture History)

Hometown History

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4th

5th

6th

7th

8th

9th

10th

11th

12th

Curriculum of Scientific Classes

Thermology

Dynamics

ClassiCal Physics

Optics

Optics

Optics

Optics

Goethe Chromatics

Air Dynamics

Air Dynamics

Electromagnetism

Electromagnetism

Hydraulics

Basic Weather Dynamics

Fluid Dynamics

Introduction to Botanical Biology

Acoustics, Waves

Acoustics

Acoustics

Acoustics

1st

2nd

3rd

4th

5th

6th

7th

8th

9th

10th

11th

12th

Chapter 2. Literature Review

Chapter 2. Literature Review

2.5 Schroff, Lois. A Painter’s Handbook: Experiencing Color between Darkness and Light .

In 2.4 we have taken a quick look on Waldorf education. In 2.5 and 2.6 we pick up two from the curriculum: Watercolour painting and FormDrawing. Why these, why not something else? It is because those classes represent the principles of Steiner directly. Through watercolour painting we can take a sneaky peak into the world of Steiner chromatics. Through Form Drawing we can take a sneaky peak into the world of Steiner’s geometry, metamorphosis, weight and support, and organic form figuration process. These classes are, so to speak, the sections of the world of Steiner.

The book Essence of Colour by Rudolf Steiner focuses on abstract principles of colours and therefore difficult to understand right away. Rather, a follower’s explanation of chromatics by Goethe guides the beginners of chromatics to the right direction of understanding.

“MORAL ASPECTS: The title of this chapter is taken from Goethe’s THEORY OF COLORS, Part 6, and is meant to imply that there are aspects in us, in our work, and in the world to be considered which are not tied to the physical.

We find ourselves in the physical world but if we reflect on our inner needs and qualities, we realize that we are not only physical. Stones are physical. Plants have both physical substance and life. Animals have physical substance, life and desires. Humans have physical substance, life, desires and several other characteristics which differentiate them from the othres: Human beings can reason, walk upright, and communicate their deepest thoughts in words. Perhaps the human being’s most important word is, “No!” The ability to effect change, to refuse to obey instincts, is characteristic of the human being alone. These factors are reflections of our soul-spiritual relationship.

It is impossible to truly consider darkness, light and color, without realizing that their existence is not dependent jupon the physical. As painters, we cannot avoid using these elements as our tools, buyt the way in which we use them (which is a reflection of our attitude toward them), makes all the difference.

Darkness and light are, as Goethe called them, “ur-phenomena,” or primal phenomena which existed from the beginning, while all else evolved thereafter. They are realities. We call them spiritual or cosmic realities because they are not physical realities. Colo is a product of the working together of the darkness and the light. What is this color besides color? It is made up of beings in a world obscured from our ordinary sense-related vision. [...] However, we see only”through a glass darkly” and therefore make many errors.

Corlor is inside us as well as outside. [...] Our moods, feelings and emotions have color.”

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fig. 14 A Paint by A Student in Stuttgart, around Fourth Grade. (Carlgren et al.1982:107)

Note that the paint is not in art class but in zoology. In the paint he directly expresses the emotion of digestion. For him, digestion is purple. â&#x20AC;&#x153;The soul world of color weaves in and out of us with no regard for our physical body. We constantly live with our emotions and therefore also with the whole color-soul world. [...] We live with the colors and forms provided by nature and find them beautiful, inspirational, awe-inspiring.â&#x20AC;? (Schroff, 1985:56)

fig. 15 Movements of The Individual Colours (Schroff, 1985:44)

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The author proposes the given, particular movements for each individual colours there.

Here we present the practical works by the author.

fig. 16 â&#x20AC;&#x153;The Budâ&#x20AC;? by Schroff (1985:28)

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fig. 17 “Women before the Tomb” by Schroff (1985:25)

“Powerful light washes away color for our perception. Complete darkness makes color invisible. Between the poles of maximum light and infinite darkness, color lives. Aristotle taught and Goethe wrote a treatise on, how color arises. First, to perceive color which is not fixed in matter, we need our atmosphere, or something to simulate a semi-transparent substance through which to look (Goethe used the German word “Trübe” to describe this substance, which word has a greater meaning than our word ‘atmosphere’).

Goethe explained the two ‘boundary phenomena’ which he called ‘lightened darkness’ and ‘darkened light.’ Lightened darkness results in our ability to see the cool range of colors from deep dark purple through indigo, the blues and turquoise – each color lighter than the preceding one. Darkened light allows us to perceive the warm range of colors from yellowgreen through yellow, orange, vermillion and carmine red – each color darker than the one preceding it, until again we arrive at darkness. We are dealing here with pure colors as they are seen through the prism (Schroff, 1985:16). ” For the followers, painting colour is not painting exactly the same colour of the object through our eyes. Rather it is about painting the colour of form, the colour of movement, the colour of inner spirit, and the colour of experience. Take a look at the following paintings of octopuses and squids, and remember how the paintings in our childhood looked alike in the back of the class.

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fig. 18 Paintings of octopuses and squids for Zoology (Carlgren et al., 1982:111)

As they paint the eyes, the heads and the arms that are used to be their rips with the surrounding underwater environment, the difference of their perspective and their composition get clearly cognizable.

Another example of a painting of octopus in an epoch notebook

fig. 19 An Extraction from an Epoch Notebook for Biology in 11th/12th Grade (Carlgren et al., 1982:173)

As opposed to the one in the zoology class, this one shows the two conflicting form of living things: inner figure and outer figure. â&#x20AC;&#x153;Octopuses and squids can express their emotion by using various colours and form. (Carlgren et al., 1985:172).

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2.6

Form Drawing.

Niederhauser, Hans Rudolf; Takahashi, Iwao. 1983, Form Drawing. Takahashi, Iwao, Trans., Tokyo, Sorinsha, 140p.

It seems that Steiner installed the fundamental principles of Waldorf education into Form Drawing.

1. Thorough pursuit of truth and acknowledgment of the system behind events 2. Radical application of human body motion Steiner introduces the principle of antipole diagrams, which are straight lines and curved lines. He considers straight line as an expression of thought and curved line as an expression of will. That was the first step of form drawing. As Johannes Kepler addresses in his Harmonice Mundi, “God chose straight line and curved line without hesitation as the first step of creation of universe. With them, he drew the divinity of Author of our being to the world.”(Kepler, J. ) Steiner explains what he intends to inspire a new artistic experience of the audience through Goetheanum as follows: “To feel together and to sympathize the figure, the curvature, the extension, the rhythm, and the move.” (Niederhauser, 1983, p. 18) “Architectural forms do not want to be regarded only from external. The viewers shall experience the figure as a statue and trace inside your heart.” (Niederhauser, 1983, p. 18) “These seemingly simple practices are all rooted to the new instincts Steiner projected to overall artistic things, especially statuary and figurative arthings.”p. 31 “The distinction of Waldorf education is to develop everything from things produced through artistic means.” p. 32 “One must not negate the feature of the diagram as static motion by coloring. Rather, it is better to accent the characteristics by coloring further more.” p. 50 Form Drawing to Geometry, 5th Grade “Thus the students [in fifth grade] have those simple geometric diagrams containing lost of principles in their limbs, so to speak.” p. 53

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fig. 20 Geometric Forms in a mathematical textbook (Baravalle, 1991:18, left) and a Typical Geometrical Frame in Waldorf School (right) .

Intellectual Diversity of Proof, 7th Grade “In the system of geometry, the Pythagorean theorem is one of the most important part which shall be raised many times to develop further more. [...] Teachers let students to proof for the first hand. After that, students in this degree would be especially attracted when introduced various proofs such as Indian way of proof, Arabian way of proof, Tempelhof ’s proof, and, of course, artistically-structured Euclidean proof. [...] Diversity of proofs is typical for human effort to cognise. [...] “ p.59 Viewing the truth from various kinds of aspects shares the aspect of rhizome. In rhizome, Deleuze and Guattari criticise dualism and centricity as one of the flimsy tree systems. See 2.7 Rhizome.

Platonic Solid, 7th Grade In seventh grade, they start drawing a new dimension: space. Even though it produces a better-looking drawing, the educators do not employ the imitative drawing from completed models. Instead, they try to produce the Form gradually. Starting from a cube, students develop their own space conception step by step. pp. 61 - 62

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fig. 21 Geometric Plan for The First Goetheanum. (Agematsu, 1974) Original Drawing Black on White.

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fig. 22 Geometric Drawing by a Waldorf Student. (Carlgren et al., 1982)

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2.7

Steiner’s 6 architectural works.

Agematsu, Yuji. Architecture as The Perspectiv e of The World. 3rd Ed., Sagami Shobo, 1974, 335p. 世界観としての建築 – ルドルフ・シュタイナー論 To understand what the Goetheanum is trying to tell, we need to understand how the spiritual background of the building works. The artistic works themselves do not appeal to the cognition but to the artistic feeling. The works of Steiner, however, can enrich their quality of feeling even more with verbalising our own artistic experience consciously.

We introduce his main works as outlined below.

1. Interior design for a Munich Theosophy Conference Floor(1907).

2. Model Haus (1908-9).

3. The Ground Floor Theosophy Conference Hall in Stuttgart (1911-1912).

4. The Johannesbau project (1912).

5. The first Goetheanum and surrounding buildings (construction in 1913-1920, arson in 1922).

6. The second Goetheanum (construction in 1925-1952, Grosse Hall in 1953-1957, major renovation in 1998).

2.7.1 Interior design for a Munich Theosophy Conference Floor (1907).

Steiner started his career as an architect with the interior work in theosophy conference in Munich, 1907. He designed the interior of the floor of the conference. Inside the concert hall, which had been chosen as the floor, he covered the whole walls to the roof with vivid rouge clothes. Above the chair was painted with Zodiac (Agematsu, 1974).

fig. 23 Theosophy Conference Floor in Munich, Steiner in the Front Seat 5th from left. (Agematsu, 1998)

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2.7.2 Modelhaus (1908-9).

Modelhaus is literally a house for a model. Steiner mainly designed for the conceptual part of the plan. Moved deeply by the Theosophy Conference Floor in Muncich, Karl Stockmeyer, an architect, based on his free will, started drawing plans and making models based on Steiner’s principles. Eventually he and Steiner reached a ellipse programme with seven columns around, which survived through the first Goetheanum, and even to the second Goetheanum. With the following pictures (Agematsu, 1974) we can see a prototype – “Urpflanze” of his main architectures.

Now that the first Goetheanum burnt down and that The Ground Floor Theosophy Conference Hall is no longer available, this humble small model house is the only “architecture” with a dome Steiner was directly concerned.

fig. 24 A Perspective View of Modelhaus. (Agematsu, 1998)

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fig. 25 Interior Perspective View of Modelhaus. (Agematsu, 1974)

fig. 26 A Plan, Two Sections, and an Exterior View of Modelhaus by Erich Zimmer. (Agematsu, 1974)

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2.7.3 The Ground Floor Theosophy Conference Hall in Stuttgart (1911-1912).

Around 1911 Stuttgart lodge of Theosophy-Anthroposophy decided to build their own architecture and built this conference hall under ground. The columns are carved out of sandstone and the dome is painted. Until the first World War began in 1914 the ground floor is used as a small lecture hall. In 1935, however, Nazi closed the Anthroposophy itself and destroyed the hall too. Following picture is one out of only two pictures available today.

fig. 27 Perspective Interior View of Ground Floor Hall. (Agematsu, 1974)

Due to the absence of enough source for the project, we cannot compare it with others, but any rate, from the figure above we can see he used more than seven solumns in the hall unlike any other projects.

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2.7.4 The Johannesbau project.

Johannesbau came out from the “inner necessity of telling what this spiritual science[anthroposophy] intends with the different expression means other than just thoughts and words to the fellow citizens (Agematsu, 1974:136).” His world of mind could not expressed only by the words. He went into the world of deep silence over and over through his life.

The Goetheanum was supposed to be built in Munich at first. In Munich, the Theosophists, the former Anthroposophists, performed the Mystery plays written by Steiner every Augus from 1910 to 1913 (Hartmann, 1971:6). The members at the time thought of constructing a place for the festivals for themselves to perform, and decided the site to be Schwabing, a borough in the northern part of Munich. Steiner was in charge of designing. He named the architecture the Johannesbau (the building of Johannes), after the lead character of his Mystery plays. We append that the name of Steiner’s father is Johann or Johannes Steiner and Goethe’s name is Johann Wolfgang Goethe in full.

The Johannesbau was intended to be buried in the middle of a city block in Munich, but failed to get planning permission. Even after the refusal, the programme kept moving forward.

Sometime during that time, a Swiss member of anthroposophical society offered a plateau in Dornach for the architecture. At that time, the Johannesbau project transformed into the Goetheanum project in Dornach.

fig. 28 Perspective Render of The Johannesbau Project by Schmidt Curtius

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fig. 29 A Block Plan of The Johannesbau Project (Agematsu, 1974:140).

As we can seen in the block plan, the Johannesbau was intended to be surrounded by the buildings around, and thus could not be looked from passengers.

2.7.5 The first Goetheanum.

fig. 30 Perspective View of The Site for The First Goetheanum (Agematsu, 1996)

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fig. 31 Prelimitary Model Showing The Processof Form Figuration Process. (Agematsu, 1998)

fig. 32 Prelimitary Model Showing The Processof Form Figuration Process. (Agematsu, 1998)

fig. 33 Columns under Construction. (Agematsu, 1974)

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fig. 34 Organic Shape of East Entrance. (Agematsu, 1998)

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fig. 35 The first Goetheanum under Construction (Agematsu, 1974)

2.7.6 The second Goetheanum.

“The Goetheanum, center for an active, world-wide network of spiritually committed people, is situated in Dornach, 10 km to the south of Basel in the Jura mountains. It is the home of the School of Spiritual Science and the Anthroposophical Society. 800 events, including lectures, special subject colloquia, exhibitions, theatre and eurythmy performances and major international conferences, draw more than 150,000 people a year to the Goetheanum. “ (Goetheanum, 2010)

fig. 36 West Wing Stair Case in the Goetheanum, showing Blue Stained Glass”Speaking”. (Agematsu, 1998)

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Haus Pirol Guest and residential acc Haus Reinitzer Residential, with eurythm Haus Schuurman Built in 19 Schuurman; now houses Art and Theatre at the G Haus van Blommestein Bui studio building ...............

Heizhaus For the First Goeth buildings, built in 1914; in coal-burning boilers were gas-fired system .............

Hochatelier This is where Ru with Edith Maryon on the Man sculpture. Large sec are still in the studio .......

Höhere Fachschule für ant Heilpädagogik .............

Holzhaus Class and practice Keplerwarte Observatory, r Mathematics and Astron studies and further traini Goetheanum ..................

Kleinodienhaus Now house Goetheanum publishing accommodation..............

Konferenz für Heilpädago und Sozialtherapie ......

N

Bus stop P

Parking spaces (parking fees)

V

Bicycle stand

©2004 General Anthroposophical Society and mellow yellow grafik design

Car-free zone

fig. 37 The Map of the Goetheanum from an Info Flyer Available in http://www.goetheanum.org/

Haus Duldeck Built in 1915 as residence for Nelly Map of the Area How to get to and Emil Grosheintz, donors of the land on which When we visit or see the photos of the Goetheanum architecture we would be mystified by the Goetheanum was built. Now houses the by train from Basel SBB Stati Akademie für anthroposophische Rudolf Steiner Archives ..................................... 19 its figure and form, and start seek for the answer why it is as it is. to Goetheanum stop.

39 Pädagogik (HFAP) to ..........................................

Haus Farbentor Studios and class rooms of by tram from Basel SBB Stati Anthroposophische Gesellschaft in der Schweiz Fine Arts Section ............................................. 33 Soon after the catastrophe of the first .............

Goetheanum, Steiner started designing a new version No. 66 to Goetheanum stop.

31 und Medienstelle Anthroposophie Haus Friedwart Designed and built in 1921, by car Motorway H18 Basel-D Atelierhaus Painting school at the Goetheanum partly by Rudolf Steiner, now Goetheanum of Goetheanum. As we noted already, the first41 Goetheanum would have been built in concrete by foot 15 minutes walk from and residential accommodation ........................

20 Guest House .....................................................

Begegnungszentrum Haus Ganna Exhibition and class rooms ................ if Steiner had notGoetheanum listenedGuest to people’s wishes. The second time, however, “he decided he needed 26 House ...............................

Haus Haldeck Residence for artists and art Eurythmiehäuser Built in 1920 to accommodate students at the Goetheanum ............................ to take complete control.”

This is by “perhaps he felt there was too much at stake.”

Goetheanum staff.

Design Edith Maryonbecause Haus Hansi Former residence of Rudolf Steiner, in collaboration with Rudolf Steiner..................

Gedenkhain.......................................................... 18 Glashaus Built in 1914 for cutting the glass windows for the First Goetheanum; now home of the Science and Agriculture Sections ...................... 15 Goetheanum ........................................................ 1 Haus Arco Exhibition rooms and private gallery .... 29 Haus de Jaager Built in 1921 as a studio in memory of sculptor Jacques de Jaager, now: museum and residential house........................................ 5 Haus der Jugendsektion ..................................... 28

now housing the Albert Steffen Stiftung (foundation) ..................................................... 25 Haus Hofmann Now houses the Medical Section ......................

Haus Jenny Now the Herbert Witzenmann centre............... 4 Haus Julian Student hostel and hall ...................... 34 Haus Martin Old people’s home ........................... 35 Haus Moldenhauer Offices of Goetheanum Gardening Department; formerly residential .... 7 Haus Peter Residential, with eurythmy/class room ............. 43

Right and left sides are both corresponding in Conventional architectural styles. Architectural symmetry is purely and mathematically related to a certain straight line.

14

fig. 38 Diagram of the 2nd Goetheanum Showing Steiner’s Functionalism – Jelly-mould Principle. (Steiner, 1957) fig. 39

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fig. 40 Stained Glass in the second Goetheanum (Agematsu, 1998)

fig. 41 Visualized Chromatics.

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fig. 42 Perspective View from the Terrace.

fig. 43 Night View from the West, (Agematsu, 1998)

fig. 42 shows the red stained glass that cannot be seen from outside as shown in fig. 41 is visible in the night.

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2.8

Design Theory.

Tanaka, Yoh. Design Theory. Tokyo, Iwanami Shobo, 2000.6.8, 149p. “[...] Design is inseparably-linked to industry, and thus plays a role of expressing the policy of the company. We define the identity of company as Corporate Identity (CI). Consumers always objectively read the company’s attitudes towards products, production [process], and marketing. And so, companies have started seeking the way to IDENTIFY their form as their reflection.”

In Japan, CI started rather as Visual Identity (VI), the design of the façade so to speak. Then they moved to the primary object of CI: constitutional improvement and awareness-raising. (p.

115)” CI consists of roughly three parts. a. MI+BI+VI b. Formulation of better-looking corporate image to strengthen international operation. c. Formulation of communication image between the third party.

MI=Mind Identity is to design the principles of management, and thus close to business administration. BI=Behaviour Identity is to design the behavior as management. VI=Visual Identity formulates coherent appearance and so on. So, VI is just a part of the vast system of CI. Product Identity: The most important thing in CI is to have concrete corporate principles and policy. In addition to that, formulating the principles and practical codes of conduct to comply are the pragmatic side of CI. The problem is that without the most important part CI would not work as they expect. Adopting only VI for styling appears to be efficient, but without solid CI it would result in façade design. CI is for designing principles, and then the methods that have compliance to those principles. But how? Some corporations can identify their brands being old. Tradition can be the soil for the principles and designs. Some can bring charisma as an icon of the company. Without those kind of resources, however, it seem to be fairly difficult to form a solid CI.

2.9

Benjamin: Destruction, Anthology, and Recollection.

This book covers a Jewish-German intellectual Walter Benjamin (1892-1940). In the section “German youth movement” Mishima identifies the background of Benjamin. Benjamin changed his school when he was 13.

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Chapter 2. Literature Review

“What made Benjamin feel obstructive character of liberalism and progressivism [...] was two years in a local boarding school. The school copied the New School movement in England, one of the movements of free education all over Europe. Those were the brave experiments trying to overcome the education based on a full commitment to filtering by the nation, namely by Ellen Key [1849-1926], [Maria] Montessori [1870-1952], and [Rudolf] Steiner who founded Anthroposophy in 1902. [...]

In those experimental schools they preach a demining of separation of academic work and actual life and thus put emphasis on classes related to life as manual training, music, and outdoor activities. On the other hand, they also preached ‘academic-theoretical’ education to let them think truly critical without learning everything just by heart. [...]

It sounds as if only being good things, but as is customary with these kind of things, it also sounds dubious in a way. Benjamin condemned Steiner’s philosophy in his marijuana experience: ‘I’m sick and tired of the lie.’ The bond between education and wealth is inextricable without changing the society regardless how soaring the ideal of those reformation education systems are. Despite they insist the resistance against national governance of education, school fees cost 2000 Reichsmark while less than 10 percent of the families in the richest cities could reach their annual income of 3000 Reichsmark. Eventually the students were limited to the sons of university professors, high class military men, [...] and private bankers. (Mishima, 2010:66-67)“

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2.10

Rhizome.

Deleuze, G. Guattari, F. 1980. Mille Plateaux Capitalisme et Schizophrénie, Paris, Les Editions de Minuit.

Rhizome is the first chapter of the book Mille Plateaux by two post modernistic philosophers, Deleuze & Guattari. In the book they use the word for an analogy or a philosophical term for a model which has no centre nor a start nor an end. They insist that the conventional European metaphysical philosophy has been adopted a model of a tree, which has an absolute root and then spread from there. Rhizome has been the typical thoughts of the authors.

Rhizome: A book is an arrangement, or an assemblage. Machinery arrangements 1st Type of Book: Root-book A first type of book is the root-book, which is the classical book. A tree stands as an image of the world. Or, a root is an image of the tree as an image of the world. A book copies 2nd Type of Book: The Radicle-System, or Fascicular Root The Body without Organs (BwO, or Corps sans organes, CsO) of a book possesses the nature of the line, the substance of the line, and the specific density.

fig. 44 Form Drawing of Descending Dynamism. (Kranich et al., 1994)

1˚ Principle of Connection “Any point of a rhizome can be connected to anything other, and must be. This is very different from the tree or root, which plots a point, fixes an order.”

2˚ Principle of Heterogeneity

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3˚ Principle of multiplicity ‘It is only when the multiple is effectively treated as a substantive, “multiplicity,” that it ceases to have any relation to the One as subject or object, natural or spiritual reality, image and world. Multiplicities are rhizomatic, and expose arborescent pseudo-multiplicities for what they are. There is no unity to serve as a pivot in the object, or to divide in the subject.’

Only when the multiple is dealt as a manifold, they are no longer related to the one as the image and the world. That means the legion do have relationships with the one if they are not a manifold. There is no uniformity such as the one works as an axis at nonego or the one that gets divided at ego. Manifold lacks nonego and ego. Various orders.

4˚ Nonsemantic Cutoff Principle Nonsemantic cutoff is a principle of rhizome that fights against cutoffs that have too much meaning which divide each structures or cut across a structure. Rhizome does not mind even if it gets cut or bent in any part of the body. The lines and the parts of the rhizome enable them to come back to life. The same thing applies to animal rhizome such as a colony of ants, which has limitless potential to overcome any damage and reshape the whole.

5˚ Method of Preparing Map Principle 6˚ Transcription Principle p. 40 A thought is not a tree. A brain is not a material that is rooted or is branched. p. 53 “Plateaus are always in the middle,” not at the beginning nor the end. Rhizome consists of all kinds of plateaus. p. 59 “Make rhizomes, not roots, never plant! Don’t sow, grow offshoots! Don’t be one or multiple, be multiplicities! Run lines, never plot a point! Speed turns the opine into a line! Be quick, even when standing still! Line of chance, line of hips, line of flight. Don’t bring out the General in you! Don’t have just ideas, just have an idea (Godard). Have short-term ideas. Make maps, not photos or drawings. Be the Pink Panther and your loves will be like the wasp and the orchid, the cat and the baboon...” pp. 60-61 “A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo. The tree is filiation, but the rhizome is alliance, uniquely alliance. The tree imposes

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Chapter 3. Analysis of Design Principles and Methods by Steiner

Chapter 3. Analysis of Principles and Design Methods by Steiner.

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Chapter 3. Analysis of Design Principles and Methods by Steiner

Design Methods

General Principles

Design Principles

Anthroposophy fig. 45 Diagrammatic Understanding by The Author.

3.1

Root: 4 General principles.

Here we discover the principles of Steiner. We divide it into two pieces. One is general principles and the other one is architectural principles. In this section we discover general principles which are abstract, conceptual, and anthroposophical. The edifice of Anthroposophy is so vast that we focus on those of related to architecture explicitly, but not directly to architectural design.

We pick up the following: 1. A new architectural style: The House of Speech.

2. Chromatics.

3. Christianity.

4. Metamorphosis.

Steiner was an occult thinker. How did he move ahead to architecture? To answer the question, we first need to know his way of constructing the thoughts. â&#x20AC;&#x153;Once he had done renovation of consciousness, he could unfurl the branches and leaves

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Chapter 3. Analysis of Design Principles and Methods by Steiner

[of the thoughts] toward all the perimeter from the original point [of the consciousness] with complete uniformity. (Agematsu, 1974:40)â&#x20AC;?

Steiner did not consider architecture as it is today being dissociated from every kinds of arts Although we know that Rudolf Steiner intends to design organically, the opportunity to get to understand his vast principles of architectural design is fairly limited.

3.1.1 A new architectural style. (1914.6.17,1914.6.28) Steiner intends to develop a new architectural style in the context of Greek, Christian, and Gothic architectural styles (and so on, but here we do not cover because those three explain the concept well enough). To understand the principle, we first clarify the design strategy of each styles through his perspective. The following introduction is based on the second and the third lecture of architecture by Steiner: The House of Speech in 1914.6.17, and A New Style of Architecture in 1914.6.28. The principles A new architectural style and the house of speech are different two principles, but can be merged into one. It is because the ultimate object of his new architectural style is to make architecture to speak to human being.

i. Greek architecture: Closed weight and support system.

According to Steiner, Greek architectural style intends to combine architecture with landscape. Therefore the landscape grows along the architecture. The temples become the houses of gods and goddesses. They adopted the overall relationships between space and gravity as the base strategy of the design (Steiner, 1957:123).

fig. 46 Diagram of Greek Temple Walls. (Steiner, 1957:90)

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“When something goes beyond horizontal things, the force itself closes this. As we build two beams like this when we build an architecture, the forces supports each other. What is the emotional condition for the system? It is that there is the earth below this with gravity. (Steiner, 1957:89)”

ii. Christian architecture According to Steiner, Christian architectural style intends to dissociate the churches with the land. The dissociation of the feeling of serving for the spirit, God, from day-to-dayness.

Because Christian architecture is no longer practically united with landscape, the architecture expresses that if a person needs to uprise to the spirit he must a.) go out from the day-to-dayness, b.) must stay in the place insulated, c.) and must unite with the spirit. Thus, Christian architecture cannot be just as Greek and Roman architecture used to be.

Christian Architecture divided itself into two: a.) the architecture of parish, and b.) the altar and the architecture that is insulated for the sake of the priests.

Here the Greek architectural configuration of pure statics and dynamics relationships metamorphoses into the form appropriate to the principle of dissociation as if it were an axiomatic process (Steiner, 1957:124).

iii. Gothic architecture: Just as an extension Gothic dome produces the embodiment for the mystics in the later phase of the Middle Age. “Gothic architecture is, essentially, only a further development of what had been prepared earlier. Its main feature is that the bearing of weight is transferred from walls to pillars. What is the origin of this whole mode of construction, where weight rests on the pillars, which are so formed that they are able to bear it? The system of construction of the Greek temple is based on quite a different conception. It is as though the human being had got to know the force of gravity inside the earth; and then, finding himself placed on the surface of the earth, he makes use of gravity, and by doing so overcomes it. That is the Greek temple, which is the dwelling place for the god. [...] Gothic architecture requires individual craftsmanship. The wish to create an enclosed world for need to create something wherein the activity of the congregation plays a part. What the people in the congregation have learnt is embodied in the forms they create.

The art of the craftsment flows into the Gothic forms, and in studying these forms we see the work of human beings who have all worked together contributing their share in the town community. “(Beard, 2003:47-49)

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Steiner points out the archetype of what we call it “preparatory design” today in Gothic architecture.

Until Gothic era, there had been no such contribution of craftsmen who had a creative freedom, Beard says (Beard, 2003:257). And thus Steiner said Gothic temples are crystalized handcraft.

“In Gothic churches we have a building built by the congregation to enclose the God and to which the craftsmen have added their contribution. [...] In Gothic architecture the labour of human beings unites with the divine.“ (Beard, 2003: 49) Exactly the same thing happened in the two Goetheanums as we see in a later section. In Goetheanum, they had a building built by Steiner and his colleagues to enclose Anthroposophy and to which the craftsmen have added their contribution. In Goetheanum the labour of human beings units with the spiritual philosophy.

fig. 47 Boy’s Backbone as a Reaction to Force of Gravity ＆ Force of Selfhood. (Kranich et al., 1994)

iv. A new architectural style He then proposes another, new architectural style.

1. Proximity to spiritual things: conflation with the spirit.

2. Inner communion of form and spiritual things.

3. Embracement by emotion and all our heart, not through abstract thoughts.

4. Form that tells just as words.

5. Understanding the spirit through the form and figure.

6. Form as an organ that speaks from the spiritual world.

7. Form NOT as an imitation of nature.

Steiner then presents a diagrammatic expression. Following statement is made in the third

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lecture (1914.6.28.)

“Can forms speak out of the spiritual world? They can indeed, and they can express many things. Take a concept that is especially close to us, being on the one hand the expression of the highest, while on the other hand, in its luciferic aspect, it is submerged in the lowest. Take the concept of the ego, the concept of the self.

We do not as yet attach anything particularly significant to the expression ‘I’ or ‘self’. Many epochs will have to run their course in human history before a fully conscious mental image can arise in the soul when the word ‘I’ or ‘self ’ is uttered. But there is a form we can make through which egohood or selfhood can be sensed. When we pass from having a purely mathematical conception of a form to really feeling what a form is, a perfect circle will give us a sense of egohood, of selfhood. To feel a circle means to feel selfhood. To feel a circle in a plane, or a sphere in space, is to feel the self, the ego. Once you have grasped this you will readily follow the rest. When a human being who is truly alive to what he feels is confronted with a circle and in consequence feels a sense of ego, of self, arising in his soul, when even a part of the circle or a fragment of a sphere rouses in him a sense of independence in his own self, then he is learning to live in forms. Those whose feelings are truly alive are good at living in forms. If you bear this in mind you will find it easy to understand what follows from it. (Beard, 2003:58)” To live in forms. That is fundamentally a diagrammatic perspective of the world.

“The first circle I have drawn here has an unbroken line.

fig. 48 Unbroken line. (Agematsu, 1974)

This line however can be varied so that it shows these wavy projections.

fig. 49 Wavy projections.(Agematsu, 1974)

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Another characteristic variation is the third figure.

fig. 50 Jagged circle. (Agematsu, 1974)

Both figures are only variations of the circle. What do these variations signify?

The second (2) expresses the fact that the Self, the Ego has entered into relation with the outer world. The simple circle makes us feel that nothing of the rest of the world is there, only what is shut off within the circle. If we observe the circle in variation we can no longer feel that what is expressed by the circle is alone in the world. The variation in the line expresses a struggle, a kind of interplay with the outer world.

If we really live into the form of the second variation (2) we shall feel: ‘The inner is stronger than the outer.’

And in the case of the jagged circle (3): ‘The outer has bored its way in and is stronger than that which lies within the circle.’

And now if we go into any building containing fragments of circles or rounded surfaces, and perceive variations of this kind, we shall feel in the case of the jagged lines, ‘here the outer has conquered,’ and in the case of the wavy lines, ‘here the inner has conquered!’

Our souls begin to live with the forms. We do not merely behold the forms but in our souls we have the living, pulsating feeling of ‘conquest and encroachment,’ ‘victory and mastery.’ The very soul lives with the form. And this union with form, this living in form is the very essence of true artistic feeling.

But we can go further. Let us picture to ourselves a less simple variation (4).”

fig. 51 Movement.(Agematsu, 1974)

Here the form is moving in a particular direction and becomes action. When we live in this

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form we have the feeling that it moves and is advancing. The form itself is characteristic of movement.”

“From this you will realise that the basic character of the forms here is quite different from the forms of the three stages of architectural thought which I have described. Up to our time architectural thought has been concerned with the qualities of lifeless, mechanical rest. Now, however architectural thought becomes the thought of speech, of inner movement, of that which draws us along with it. This is what is new in the whole conception, and the basic form must of course correspond to it. In what way does the basic form correspond to it? Now I have said that the most intimate of all impressions is that of the Self, the Ego, as expressed in the circle or sphere. Why is this? It is because the simple circle or sphere is of all forms the most easily perceptible. It is an absolutely simple matter to recognise a circle. All that is necessary is the most trivial thought that everything is equidistant from the central point. As soon as we picture to ourselves points standing at an equal distance from this centre, we have the sphere, or circle. It is the very easiest process that can be carried out in thought. As form, then, the circle is the simplest of all entities. This is also in accordance with external reality, for the Selfhood in every being, from the simplest cell to the complex human being, is the simplest of all impressions, just like the circle or sphere. Behind all this there is something much deeper and I want you now to follow me in a thought that will lead those who really understand it, to great profundities. (Beard, 2003)”

fig. 52 Another Type of God’s Calyx in The First Goetheanum’s Stained Glass (Hartmann, 1996)

fig. 53 A Sign Steiner Used for a Mystic Drama (Hartmann, 1996)

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This dynamics also is available in Form Drawing. Kranich et al. say that children around eight and nine become more and more aware of their own drawing. And so they start drawing freely inside circles.

Forms for Circles from Straight Lines to Curved Movements of Drawing(Kranich et al., 1994:159)

The first circle children start with vertical symmetry and then proceed to horizontal symmetry with curves that have dynamics of springing out.

fig. 54 Forms of Exhalation and Inspiration (Kranich et al., 1994:160)

3.1.2 Chromatics.

Steiner insists that the experienced colour is not the observed colour. Take excited children.

It is not blue itself that calms down the children. On the contrary, it is red that evokes the experience of opposite colour, blue in tyhis case, inside.

fig. 55 â&#x20AC;&#x153;Formation of Colourâ&#x20AC;? drawn in 1923.6.9 (Steiner, 1982:90)

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“There are luminous material elements in the universe. They are the group of yellow. When the space in front of the yellow is dark, the yellow changes to the red. In the meantime, there are the material elements that travel the wave motion other than luminous elements. Those elements emit the group of blue.”

fig. 56 ”The Essence of Colour” drawn in 1921.5.6 (Steiner, 1982:89)

”Colour is not real. Colour is an image. There we see the image of the dead, the image of the living, the image of the soul, and the image of the spirit.”

3.1.3 Christianity.

Steiner’s Christianity is somewhat different from ordinary orthodox one. Steiner’s Christianity seems to have its base in Jesus Christ himself, not in the system of the religion which has been deformed and evolved.

The conflict of materialism and mentalism is an essential part to understand his Christianity.

Steiner represented the conflict as explicitly as it could be.

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Gruppe (the wooden sculpture, 1917-1924)

fig. 57 Gruppe (Agematsu, 1998)

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fig. 58 Steiner on Work: with His Statue of Christ (Agematsu, 1985).

“The sculpture named ‘Gruppe (Group)’ was intended to be the finishing touch for the first Goetheanum at its deepest place of the stage. As the centre of the first Goetheanum, the wooden sculpture has the top priority to understand not only his architecture but also his architectural principles, his figurative arts, and his perspective of the world as a social thinker.

While Steiner sought sculpturesque and organic architecture, he sought an architectural sculpture here Agematsu, 1974:150).”

Even though it required eight years of production to gain the form as it is today, the production has never been finished: In the fall of 1924 Steiner got too sick to keep woodcarving the nine-meter-high sculpture. Since then, it has been put inside the second Goetheanum as the heart of the architecture.

The motif located in the centre of the sculpture is a representative of human being: Christ.

Steiner did not fix the motif to be only one. It could be a representative of human being, or Jesus Christ, or Faust by Goethe, or anything else “the viewers understand it as the representative of human being (Agemtatsu, 1974:252). “ The interpretations may vary: they are left to the viewers. See reference Chapter 2: rhizome. There Deleuze and Guattari propose the system of multiplicity which has no centre of perspective.

Ahriman is the representative of mentalism. Located below and left of the centre motif ivied, Steiner defines Ahriman in his own way. Originally the god of absolute evil in Zoroastrianism, Steiner’s Ahriman can be considered as an image of Mephistopheles by Goethe. In the sculpture Ahriman is covered with pointed parts. Hard, edgy, solid are the terms for Ahriman while soft, curved, yielding are the terms for Lucifer.

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fig. 59 Diagram for Load (Weight) and Support Principle (Beard, 2003:24).

fig. 60 Temple of Aphaia, Aegina (Beard, 2003:25)

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Ahriman and Lucifer in education.

“When a teacher is egoistic and tries to grow the students up to be as himself, education gets Luciferic. When we want the student to have the same point of view and perception, education gets Luciferic. When we are pleasured that the students mimicry tomorrow what we said today, education gets Luciferic. On the other hand, when we try to educate as less as possible and try not to let them receive anything from us, education gets Ahrimanic.

There is the balance between the two extremes, just like there is the balance between weight and support. The balance, [...] occurs through musical and sculpturesque things. We must distinguish teacher’s contemplation and the future of students themselves. When we are able to harmonize one with the other, we must be pleasured so well. [...] And so, we can think that “students won’t be as I want them to be. However, they can be someone. They won’t be what we have brought. they will be someone.(Steiner, 2005:58).”

fig. 61 Detail of Lucifer Below Christ. (Agematsu, 1985)

fig. 62 Analogy of Ahriman (Hartmann, 1971).

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The relationships between Ahriman and Lucifer is not the relationships between nature and human as shown above: analogy of Ahriman intersects the fields.

fig. 63 Ahriman in The Stained Glass in The First Goetheanum. (Hartmann, 1971)

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3.1.4 Metamorphosis.

We have covered an article on Metamorphosis in 2.3. Metamorphosis came out from Goetheâ&#x20AC;&#x2122;s Metamorphosis of Plants, and then Steiner evolved the ideas into more abstract ideas even further into the metamorphosis of diagram: Lemniscate. Lemniscate changes its form with its variable and thus became the representative example for Steiner. See also 2.

fig. 64 Metamorphosis of Lemniscate into other Forms in Form Drawing (Kranich, 1994)

fig. 65 Metamorphosis of Foot. (Kranich, 1994)

s

3.2

Trunk: Design Principles in 3 stages.

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3.2.1 First stage (around 1907-1914) In this phase, his principles and ideas were on the Johannesbau. In “Und der Bau wird Mensch (1911),” or And the Architecture becomes Man, he starts with his perspective of architecture history. In the great stream of architecture starting from Egyptian architecture to Greek, Christian, and Gothic architecture, he tries to locate the forthcoming contemporary architecture.

Here we quote a brief sample of his perspective.

“The idea of the temple as an expression of all that is most precious to man, is embodied in the Christian Temple or Church. Such buildings, erected originally over a grave, indeed over the Grave of the Redeemer, culminate in the spire which tapers upwards to the heights. Here we have before us the expression of an altogether new impulse, whereby Christian architecture is distinguished from that of Greece. The Greek Temple is, in itself, one complete, dynamic whole. The Church of Christendom is quite different. I once said that by its very nature, a temple dedicated to Pallas Athene, to Apollo or to Zeus needs no human being near it or inside it; it stands there in its own self-contained, solitary majesty as the dwelling-place of the God. The Greek Temple is an infinitude in itself in that it is the dwelling-place of the God. And it is really the case that the farther away human beings are from the temple itself, the truer is the effect it makes upon us. Paradoxical as it may seem, this is the conception underlying the Greek Temple. The Church of Christendom is quite different. The call of a Christian church goes out to the hearts and minds of the Faithful; and every one of the forms in the space we enter tells us that it is there to receive the community, the thoughts and aspirations of the congregation.

(Steiner, 1951)” “We needed to form only the thought of internal architectural in the architecture in Munich. It is because the architecture was surrounded by the residential buildings which can be occupied by the colleagues. Therefore, we considered the whole building as internal architecture. Such internal architecture must express the things occur inside artistically. “

The jelly-mould principle (1914).

Inner ornamentation has to be a pan, a mold, or a formwork of inner activity: anthroposophy in this case.This principle is comparable to the concept of “the House of Speech,” but more limited, concrete, practical adoption of the concept. Although he does not use the word jellymould to represent the principle every time he explains the interior ornamentation, we standardize the principle as jell-mould principle in this thesis as a matter of convenience.

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“In trying to understand the principle of the interior space formed by our two half domes, or, more correctly, three-quarter domes, we could do worse than imagine how a jelly0mould works. The jelly takes shape inside the mould and when the mould is upturned and removed, the jelly reveals all the forms that are present in negative inside the mould:

fig. 66 Diagram for The Jelly-mouldPrinciple

“The same principle may be applied in the case of the interior design of our building, only here there is no jelly inside but the living word of spiritual science moving and weaving in the form possible for it. All that is enclosed within the spatial shapes, all that is spoken here and done within them, must adapt to them as the jelly adapts to the negative forms of the jellymould. We should feel the walls as the living negative of the words that are spoken and the deeds that are done in the building. That is the principle of the interior design here. Think of the living words of spiritual science as they encounter these walls, hollowing them out in accordance with their profundity of meaning. They hollow out shapes that fit their meaning.

This is why these interior forms are shaped as they are, worked out of the flat surface.” (Beard, 2003:130-131) “If you will consider all these things; my dear friends, you will realise how important it is to understand the forms in the interior of our building, the forms that should adorn it, and to know the artistic principle from which they have arisen. [...] When we are trying to understand what will be placed in the interior of the building in these two different sized spaces, we may with advantage think of the principle of the mould in which sponge cakes are baked. The cake rises in the mould and when it is taken out its surface shows all the forms which appear on the sides of the mould in negative. The same principle may be applied in the case of the interior decoration of our building, only that of course there is no cake inside; what must live there is the speech of Spiritual Science, in its true form. All that is to be enclosed within the forms, all that is to be spoken and proclaimed, must be in correspondence, as the dough of the cake corresponds to the negative forms of the baking mould. We should feel the walls as the living negative of the words that are spoken and the deeds that are done in the building. That is the principle of the interior decoration. Think for a moment of a word, in all its primordial import, proceeding from our living Spiritual Science and beating against these walls. It seems to hollow out the form which really corresponds to it. Therefore I at least was satisfied from the

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very outset that we should work in the following way: with chisel and mallet we have a surface in mind from the beginning, for with the left hand we drive the driving chisel in the direction which will eventually be that of the surface. From the very outset we drive in this direction.

On the other hand we hold the graver’s chisel at right angles to the surface.”(Steiner, 1957)

fig. 67 Detail of The Chiselled Architrave (Agematsu, 1998).

Steiner then mentions the process of construction, or the process of engraving.

“It would have been my wish - only it was not to be - that we should have had no such surfaces as these (pointing to an architrave). They will only be right when something is taken away from them. This roundness here must be eliminated. It would have been better if from the very beginning we had worked with the graver’s chisel for then there would have been no protuberance but only a surface. What we must do is to feel from the models how the interior decoration is the plastic vesture for the Spiritual Science that is given its in the building. Just as the interior decoration has the quality of being ‘in-carved,’ so the outer decoration will seem as though it is ‘laid on.’ The interior decoration must always have the character of being in-carved. “ (Steiner, 1957)

fig. 68 Architrave of The First Goetheanum (Agematsu, 1998).

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Steiner then mentions the process of practical design, which is fairly rare to him. Although we can see how Steiner put emphasis on models in the design process, Steiner does not mention that a lot.

“It is important to feel from the model that how inner ornamentation works as a sculpturally created cover towards inside covering thing that fills us up as the Spiritual Science inside this space. “ (Steiner, 1957:63) “It is this that leaves one unsatisfied even in such writings as those of a man like Hildebrandt. He has a certain idea of the workings of form but what he lacks is the inner feeling of form ? the inner feeling that makes one live wholly within the form. He simply says that the eye should feel at home when it looks at form. In our building we must learn to experience the forms inwardly, so that, holding the chisel in a particular way, we learn to love the surface we are creating ? the surface that is coming into being under the mallet. I, for my part, must admit that I always feel as if I could in some way caress such a surface. We must grow to love it, so that we live in it with inner feeling and not think of it as something that is merely there for the eye to look at.” (Steiner, 1957)

While Steiner’s principles can be applied to anything he creates, his architectural design method cannot be applied to anything he builds. As we have seen, the difference of material creates the difference of design method, best of all in the two versions of Goetheanum. You just cannot use chisels on concrete.

As Beard (2003:184) explains, “the central importance Steiner attached to art and architecture” was “in enabling humanity to experience spiritual phenomena through the senses in a more direct and immediate way than is possible through thinking or meditation.”

fig. 69 Form Drawing Representing The Conflicting Forces from Inner Side & Outer Side(Kranich et al., 1994)

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Interrelationships between the principles.

In an article in Die National-Zeitung newspaper in 1st November 1924, Steiner writes as follows. “Because of the softness of wood it was possible to shape space in conformity with the way nature shapes organic forms. An organism as a whole creates for even its smallest parts - an ear lobe, for example - a shape that cannot be other than it is. By entering artistically into the way nature creates organic forms and raising this through creative imagination to a spiritual level it was possible to create an ‘organic style of architecture’ as opposed to one based merely on static or dynamic forces. (Beard, 2003:187-188)” Even in this short paragraph, we can extract the most basic significant principles of Steiner architecture. First is his materiality especially for wood. Second is his perspective of natural organism. Third is his theory of evolution.

Fourth is his organic style of architecture. Fifth is the new way of architecture he proposes in the context of evolution of architectural style since Roman period. Because those principles are so strongly related to each other as you can see in the quote, those must be explained simultaneously to understand.

Second Phase In 1921, Steiner published a book “Der Baugedanke des Goetheanum,” or “The Architectural Principles of the Goetheanum.” In the book, he writes the significant principleswhich are the base of the design method in Dornach.

“The Weltanschauung [the view of the world] of anthroposophy also passes the lips of form of architecture. Things resonate in Dornach as words must be visible as form.”

In The Hague in February 1921: “In Dornach, then, a kind of architecture has been cultivated that has the same meaning and the same spirit as anthroposophical spiritual science itself. The sculpture within the building will express the same spirit, as will the painting there.

Whoever stands at the rostrum and there another way what speaks to us from the columns, from the paintings on the walls, and from the sculpted forms. It is all - if I may use a somewhat trivial expression - from one mould!

“People are so very fearful that nothing really artistic can be produced in this way, but only something symbolic or allegoric. But ladies and gentlemen, in Dornach there is not a single symbol, not a single allegory, but rather we have attempted to give everything truly artistic form. Nor will the ideas that are expressed be in any way embodied in pictures. That would be inartistic. The common spiritual life that underlies it all can at one moment be given shape in art, at another in ideas - that is to say in thoughts, using a scientific approach. Nor again is

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the art in Dornach a didactic expression, as it were, of science. Rather it may be said to be one mode of representation, and science another, of the same great spiritual mystery from which, in anthroposophical spiritual science, everything is drawn which the latter strives to give to humanity.

“The whole outer form of the Dornach building had to be in keeping with these ideas. Anyone looking at this Dornach building will see a double domed structure. Side by side stand two cylinder-like structures which, however, intersect each other; and above these, two hemispherical domes which are bound together in a circular segment by means of a somewhat difficult mechanical contrivance. (Beard, 2003:151-152)“

3.2.2 Second stage (around 1914-1925) According to Agematsu (1974:28), the year 1913 seems to be one divide for the revolutionist of entity and cognition. In 1913 he moved to a hill of Dornach near Basel, Switzerland. From that time his ideas started to overflow.

Principle of Organic Form and Organic Architecture (1921).

We consider Rudolf Steiner as one of the “organic“ architects. Not knowing what “organic” truly means, or not knowing what s/he really intends to design, we tend to categorise the architectures with curved surface as “organic architecture” in some vague way.

fig. 70 “Form of Organic Architecture” drawn in 1921.12.28 (Steiner et al., 1996:92)

“Anthroposophy is to activate the intellection world of today’s human being who have been trying to adapt to the fixed form of nature. And thus in architectural field we have been striving to

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activate mechanical=geometrical architectural style. Therefore, as you enter the Goetheanum, you will understand how bilaterally symmetric geometric form are guided toward organic form, and how we have tried to make you encounter the organic forms or the forms that evoke organic forms here and there.“

Metamorphosis with the second Goetheanum.

Steiner concentrated on its exterior form with the second Goetheanum. As Beard (2003:185) explains, “The entire building was turned inside out so that the seven columns which appeared inside on each side of the larger dome in the first building were transformed into vertical elements on the north and south facades of the second building.” Here we see the consecutive metamorphosis even through the buildings in the same place, and in almost the same usage.

Another metamorphosis takes place in the primary cubic form. The stage in cube on the east side develops into trapezoid form of the main auditorium on the west side.

Why, then, Steiner transformed the forms from the first one so radically? Besides all other reasons such as material adoption and fire resistance and so on, conceptual change of the building explains the drastic metamorphosis. Through the time he designed, he and his anthroposophy organisation also had radical change.

3.2.3 Third stage (1923.12.31-1925.3.30) Christmas Foundation Meeting (1923.12-1924.1).

“A complete transformation” is that Steiner refounded the General Anthroposophical Society at Christmas 1923. The day is when Steiner presented his model of the second proposal.

The meeting is so important to both the society and to the building that is called “Christmas Foundation Meeting (Beard, 2003:262).” Beard calls this social metamorphosis. A quote of his own perspective would help to understand this change. “If the first building enclosed an interior where the ‘gods spoke’ to the human being in a protected inner space, the space addressed by the second building is, in effect, the entire earth. This expresses, I think, a supremely Christian thought on Steiner’s part - the realization that, since the Mystery of Golgotha, as he called it, the earth itself has become a temple. (Beard, 2003:187)” In the meeting, they discussed the reconstruction of both Anthroposophical society and the Goetheanum.

And in the last day of the meeting, Steiner drew a paramount blackboard drawing. The updated version of principle of weight and support was revealed with specific suggestion of architectural form.

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Weight and support (1923-1924).

fig. 71 “Architectural Principle of Goetheanum,” Drawn in 1924.1.1 (Steiner et al., 1996:93)

“What I have been aspiring is to VISUALIZE the force of weight through the vestibule and the window frame. And I would like to make it possible to comprehend also in spiritual way that the vestibule lets human inside, and the window lets the light inside. At the same time, what I have been aspiring is to make it clear through the form that the Goetheanum is a kind of a peaceful sanctuary for the people who seek for the spiritual entity. “

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3.3

Branches and leaves: Design Methods.

In this section we start with the design strategy in the Johannesbau and the first Goetheanum in Dornach.

3.3.1 The fundamental strategy.

There are two fundamentally different ways to create architecture.

1. To start from inside.

2. To start from outside.

The activity inside the building decides the form of the building. It is often called programmatic strategy in contemporary architectural design method.

On the contrary, one can also think from outside. Outside in this case does not mean “facade,” “outward” styles. Those kind of strategy is infamously known as “styling” in architectural design and in industrial design. Outside here means the context of the site. To design from outside is to think about how to attune and reconcile the building with the surrounding landscape. It is often called contextualism strategy in contemporary architectural design method.

SANAA winning the Pritzker Architecture Prize, juried by their mastership for programmatic strategy and contextual is still fresh in our minds.

In Munich, Steiner clearly started with the interior. We can see it in the preliminary phase of design. The “leitmotiv,” leading motif of the building contains two cylinders in different size with the domes on each and with the columns supporting the both domes.

fig. 72 Conceptual Diagram for the Johannesbau and the Goetheanum .(Hartmann, 1971)

This fundamental structure of the building programme sustained as basso continuo even through the second Goetheanum. How Steiner emphasises the interior above all can be ex-

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plained by the response of the inquiry as to the exterior of the building. He answered that if he could, he would have liked to cover the entire building with soil and let the grasses grow.

fig. 73 Diagram of The Goetheanum Covered by Soil. (Hartmann, 1971)

Had it achieved, the Goetheanum would have consisted only of interior.

Even though the ultimate essence of Steiner architecture is in the conflict and the harmony of interior and exterior, Steiner architecture only concerned to the internal architecture in the starting phase (Agematsu, 1974:141). Inner life as anthroposophy was always on top of anything else. Architecture was a kind of cuticle. Architecture was a kind of surface skin. While sponge cakes principle is related to Steinerâ&#x20AC;&#x2122;s inner space theory, it also expands to the interior ornamentation principle.

fig. 74 Steiner next to His Model for The First Goetheanum. (Steiner et al., 1996)

Steiner addressed the ornamentation principle clearly. â&#x20AC;&#x153;The words being spoken there and the activities being taken place there must be felt from the things attached on the walls This is

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Chapter 3. Analysis of Design Principles and Methods by Steiner

the principle of the interior ornamentation.”

Steiner also insists that interior ornamentation always must have the characteristic of being engraved, while exterior ornamentation must have the characteristic of being bulging out.

(Steiner, 1957) Any ornamentation are considered as a part of living wall. Ornamentation is not a thesis that it is a format of outer technique.

Cutting and pasting the first Goetheanum.

The relocation from Munich to Dornach changed the programme drastically. In Munich the architecture was buried in the middle of the urban condition.

In Dornach, however, the architecture would be exposed all around. Thus, the architecture was no longer able to consist of just interior. The necessity of artistic external design resulted in the slate roof on top of the couple of domes and the carved wooden exterior walls. At first in Munich the windows were not in the consideration. Then in Dornach the architect installed windows on the walls in order to let the light in.

In the third lecturein 1914.6.28, Steiner addressed the diagrammatic expression of self, ego as seen in 3.1.1.

3.3.2 The design method for windows.

The windows play important role in the design strategy of the Goetheanum. To prove that, one of the most important surrounding architecture by the architect himself, the Glashaus (house of glass), was intended to be an atelier for glass craft.

For Steiner, windows are something that “punch out” the wall . For Steiner, windows are organs “through which the gods speak to (Steiner, 1957).” Steiner (1957) says that “the whole glass crafts here are the organs just for the words of the gods from all direction of the universe. “”The windows are elements that both interrupt and connect. As a part of the exterior wall, windows interrupt. As something that let sun in, windows connect inside and outside. The view from inside and from outside also connects the both. “ (Hartmann, 1971:8)

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Chapter 3. Analysis of Design Principles and Methods by Steiner

fig. 75 Godâ&#x20AC;&#x2122;s Larynx. Stained Glass in The First Goetheanum. (Agematsu, 1998)

â&#x20AC;&#x153;With transparent glasses, architects can directly connect and interrupt inside and outside in the mean time. The natural world soaks through glasses into interior, without transforming itself. â&#x20AC;&#x153; With coloured glasses, on the other hand, architects can paint. The paint on the glasses are fundamentally different from ordinary paitnings as wall paintings.

Take Gothic architects. They installed artistic works as stained glasses into exterior walls of

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magnificent huge buildings. Through them, the persons appear in the New and Old Testaments, the saints, and the dedicators “talk to”the parish.

In the Goetheanum, the stained glasses are not for inviting natural world but for spiritual world to appear through colour and form.

Coloured glass windows.

“I now want to indicate how our glass windows are to unite outside with inside. Each window will be of one colour, but there will be different colours at different places, expressing the way the interplay between outside and inside must have a spiritual harmony. Within each monochrome window there will be thicker and thinner parts – parts where the physical substance is thicker, more solid, and parts where it is thinner. More light will shine in through the thinner parts and less through the thicker ones, which will thus yield darker shades. The interplay between spirit and matter will be sensed in what the windows express; and the whole of the interior surface will strive to be organ for the speech of the gods. The larynx[the organ between mouth and throat] makes it possible.”

3.3.3 Materiality: Wood or Concrete?

The first Goetheanum building was destroyed by arson in New Year’s Eve, 1922. According to Beard (2003:185), “there is some evidence that the first building would have been built in concrete if Steiner’s collaborators had not wanted to use wood.” The fact that the first Goetheanum was surrounded by the architectures built in concrete also tells that the first Goetheanum could have been built in concrete. It is because Steiner normally defers to the collaborator’s wishes when it came to putting anthroposophy into practice.

Material adoption.

“When one approaches the building from the west and comes to the main entrance facing west, one is met by the following view. The foundation of the building is concrete. Above this is a terrace surrounding the greater part of the building. Upon this concrete foundational structure stands a structure of wood. (Beard, 2003:152-153)”

The roof slate.

“The domes are covered with that wonderful northern slate, gleaming in the sunlight, which is to be found in the slate quarries you can see when travelling between Christiania [now Oslo] and Bergen. It came from the Voss slate quarries. This slate blends in a marvellous fashion with

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Chapter 3. Analysis of Design Principles and Methods by Steiner

the building’s architectural conception. (Beard, 2003:153)” “Concrete and wood are both employed to give rise to an architectural style that may perhaps be described as the transition from previous geometrical, symmetrical, mechanical, static-dynamic architectural styles into an organic style. Not that some sort of organic form has been imitated in the Dornach building. That is not the case. Rather it has been my aim, in accordance with Goethe’s theory of metamorphosis, to steep myself in nature’”

fig. 76 The First Goetheanum in Perspective View (Agematsu, 1974).

3.3.4 The design strategy in the second Goetheanum.

Here we discuss the design strategy adopted in the second Goetheanum. After ten years of thinking, the design of the Goetheanum has changed drastically. For Steiner, going back five years meant going back one century.

“Time is reality. [...] If we declared the same thing in the same way we have already done in 1919 once more, we would have fallen back for a century. [...] Likewise it is impossible to architect the same way today in 1924 as we have in 1913 to 1914.(Agematsu, 1974:294)”

Major renovation in 1997.

In 1997, anthroposophy organisation decided to renovate the second Goetheanum for being creaky. They had three main purposes for the renovation. First was to replace asbestos-treated roof. Second was to have better acoustic performance. Last was to reinforce the structure with adding 5 more columns inside the existing thick wall.

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Chapter 3. Analysis of Design Principles and Methods by Steiner

3.3.5 Utility and Programme.

Transformation of the basic programme in the second Goetheanum.

It was important “to work more economically with space in this second Goetheanum.” The first building basically consisted of a single space, the auditorium. The auditorium couldprovide artistic surroundings for both lectures and performances in the same space. Now in the second Goetheanum Steiner tried to create two levels separated. The lower one was the lower one comprising offices, lecture rooms and a rehearsal stage. The upper one was the auditorium and main stage, which can also be used for lectures.

Practical necessities: functionalism in its true sense.

“Artistic shaping of the exterior lines and surfaces had to evolve from this interior design.”

Steiner admits the errors on the first Goetheanum. See (Agematsu, 1974:295), or see a quoted paragraph in the discussion chapter. In the quote, he regrets making some mistakes in the first Goetheanum. The second version was the result of the reconstruction in the completely different style, but in the same principles as the previous.

“The way the roof is shaped is a case in point - it will not be domed this time. Those who respond sensitively to the architectural forms will sense our attempt at an artistic solution that follows the rise of the auditorium at the front, and at the rear follows the enclosing walls of the stage with its storage rooms. Unbiased artistic appraisal may reveal how the underlying necessities in the design of the plan have been followed through in the whole architectural concept, including the daring execution of the western facade.

“The building is to stand on a terrace, which will enable people to walk round the building at a level higher than ground level. Wide, sweeping stairs will lead up from ground level to the entrances on the terrace. Cloakrooms and other facilities will be located beneath the terrace.

(Beard, 2003:190)”

3.3.6 Materiality: Form figuration.

Dependency of form to material.

We cannot separate material from form. In the conceptional phase of second Goetheanum, Steiner tells that the form of architecture shall be as primitive as it can be because he chooses concrete as material. When curve, carving, dome, geometrical programme, and polygonal-

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Chapter 3. Analysis of Design Principles and Methods by Steiner

sectioned column are the vocabulary of chamber construction,rectangle, formwork, gable, perpendicular, and Platonic solid are the vocabulary of concrete construction. Complicated, meticulously detailed first Goetheanum has extremely different character from roughly styled second one (Steiner, 1957).

3.3.7 The second Goetheanum: materiality.

Materiality adoption in the first Goetheanum: wood for a sense of identity .

As we have seen in the design principle section (the interrelationships between the principles), organic forms in the old wooden Goetheanum was the product of the principle of a new organic style of architecture. “Thus there was in the old Goetheanum a vestibule which visitors entered before going into the main auditorium. The forms carved in the wood indicated quite clearly that it was a space to receive people coming in from outside.” For Steiner, materiality and the programme structure also was bonded, and worthy of noting, had no clear separation.

Material adoption of wood was a consequent conclusion.

Steiner continues. “Another factor that determined the way the wood was shaped was the need for everything to fit organically with the building as a whole. From this, in turn, arose the exterior design, which revealed artistically how the building was both formed and articulated to meet the requirements of the Anthroposophical work taking place in it.” Here he explains one of the reasons for adopting wood.

Materiality contextualism in the second Goetheanum.

The main change he made in the second round was the form language he used in the building. Steiner explains the radical change of materiality is a response to the limestone hills of the Jura Mountains rising above the site to the east. The first Goetheanum did not build sufficient relationship with its context, which are environment and surrounding landscape.

The first Goethenum was first intended as Johannesbau project. As we have seen in the section for Johannesbau, it was intended to be buried in the middle of a city block in Munich.(Beard, 2003:262) Thus, cutting and pasting of the building created a kind of gap between the land.

Feeling slightly bit being out of place in the first one, the second Goetheanum achieves downto-earth principle.

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Chapter 3. Analysis of Design Principles and Methods by Steiner

Materiality in the second Goetheanum - the convex character of the new concrete building.

Continuing from the explanation of adoption of wood for the first Goetheanum as noted earlier, Steiner remarks that “the architectural conception now has to be handled quite differently since it is a question of using concrete rather than wood.)” The switch postponed the completion of the design for almost a year. After the long wordless conceptual phase, Steiner started sculpting a clay model for the new version in March 24th 1924, a year and six days before his death. “With wood, the shape of the space is carved into the material.” This represents the sponge cakes principle, which explains how internal ornamentation works. A form arises from a concave hollowing of the surface. With concrete, on the other hand, “the form is convex, a bulging-out of the surface defining the boundary of the space required. (Beard, 2003:189)”

3.4

Analysis of the design of Associated Manufacturers.

In this section, we analyse the relationships between Rudolf Steiner’s own design method and that of the associated organisations today. Since we could not find any bibliography referring the Steiner-related organisations except Agematsu (1998), the following analyse relies heavily on my personal experience of Waldorf education and daily conversations and interviews with the author’s mother and the author’s grandmother. The author experienced Waldorf education as a student when the author was five in Lexington Waldorf School in Boston, and when the author was three and was seven in Waldorf School of the Peninsula.

First we put together design principles and methods with corresponding visual diagrams. In the following data sheet, the analysis objects are classified with those diagrams above.

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idea

General Principles Principle of The House of Speech.

Principle of Weight and Support

idea

Principle of Metamorphosis Principle of Conflict and Balance of Ahrimanic & Luciferic Force Principle of Chromatics; Theory of Colour Principle of Jelly Mould: Functionalism in its true meaning

Bd Am

Based on the principle of Waldorf education and Steiner pedagogy

Bd

Based on the principles of Anthroposophic Medicine

Social Movements and Methods

Based on the principles of BioDynamic Agriculture Diagrammatic Methods Strong usage of Euclidian regular polygon or forms close to those Strong influence of form drawing-based movement and trajectory theory Strong usage of diagramatic, geometric, wireframe in plans, programme, silhouette, and form Design Methods Design of movement, expression of movement, expecting movement around it Merged roof-wall 2D chamfering 3D chamfering Bilaterally symmetric Calm looking, or no expression of face Simplification, abstraction, modelization of form Coalescence of fine forms into a simple form Rough woodcarving Direct use of material Organic living form

No. 1

Name of

✓ Manufacturer:

Products:

Margarete Ostheimer GmbH

Category: Wooden Toy Maker

Principle:

Design Method: Angel painted with all three primary colours.

Designer draws.

Stamps.

Dolphin. Chamferred,painted beautifully.

Annual growth rings as scales.

Stock of Hardwood

Worker cuts out.

Hedgehog w/tranquil expression

Margarete Ostheimer GmbH is one of the leading German wooden handmade toy makers with about 50 employees and about 150 individual subcontractors. Their philosophy of production is based on the philosophy of Steiner. With their unique characters of handcraft, Ostheimer has become an essential producer for Waldorf education, especially for little children.

Using natural and sustainable materials is only a side character of Ostheimer production.

Unlike the toys by other industrial companies, their cow cannot moo or nod their head. Those limitations suggest children to creative and free play.

“Ostheimer figures and wooden animals are produced exclusively from hardwood, maple and elm. Each Ostheimer toy is cut out by hand, handsanded and then finished off with handpainted details. Each piece will have variations, [...] ensure that each piece is unique and has its own special charm. The simple designs of Ostheimer toys were inspired by the philosophy of Rudolf Steiner to encourage children to have room for their imaginations to unfold.

“It is the fantasy of our children alone that breathes life into the seemingly stiff wooden figures, the form and colour of which purposely have been reduced to an essential minimum.

It is apparent how little coaching our children need to dive into their worlds. We go to great lengths in shaping and crafting each individual figures so as to preserve this fantasy world and thereby to give children the ability to draw on their creativity during play.” Margaret Ostheimer.” citation: http://www.honeybeetoys.com.au/catalogue/Ostheimer_Wooden_Animals_ People Design Principles: The beautiful soluble colour can be directly related to chromatics. Not just imitating the colours of the original animals, Ostheimer seeks the way to preserve feelings of raw materials they use.

Design Methods: Coalescence and chamfer are the central methods they adopt and thus created many followers.

Materiality: Most of the Ostheimer figures are made from maples. In addition to that, they use ash for more powerful expression and stronger structure for rhinoceros and camels and so on. Linden is used for even much bigger figures such as manger figures.

Right: Process of form figuration from http://ostheimer.de

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Fillet.

Filleting.

Fillets through body.

Painter tints.

Almost done. Oil later.

No. 2

Name of

â&#x153;&#x201C; Manufacturer:

Products:

Hans Stockmar GmbH & Co. KG. Bd idea Principle:

Category: Beeswax Manufacturer Design Method: Architectural study model using modelling beeswax.

Decorated 100% beeswax candle.

Floor wax w/smell of orange.

Watercolour painting example painted by the author.

Beeswax crayon.

Modelling beeswax.

Stick Beeswax crayon.

Watercolours.

Overview and their principle Hans Stockmar GmbH & Co. KG manufactures wax crayon colours, watercolours, beeswax candles, and modelling wax. 115 tons of wax crayon with about 5,530,000 stick crayons and 1,800,000 block crayons. Using plant dye as colour source, Stockmar has kept their principle along Goetheâ&#x20AC;&#x2122;s chromatics and Steiner pedagogy. (Photos taken by the author)

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No. 3

Name of

✓ Manufacturer:

Products:

Camphill Botton Village

Category: Products by Handicapped People

Bd Bd Am

Principle:

Design Method: Candle stand using woodcarving just as in the Goetheanum.

Logo.

Daringly simplified fishes. Follower of Ostheimer?

Waldorf figures redesigned.

Mary w/movement.

Simplified cars.

Catchcopy of Camphill Canada: Empowering People with Special Needs by Building Special Communities.

Based on Steiner’s principle, Camphill movement started in 1940, Karl Kenig, Scotland. There, mentally handicapped people and co-workers work together, living together, sharing economy, lifestyle, and spiritual culture. Af first the community was intended exclusively for children. But as the time has passed, they have found the need for the community for adults. In 1955 in Botton village, the supporters started the camphill village for adults.

In the middle of a national park, 150 handicapped people with 150 co-workers do their own activities–jobs. Camphill Products is one of the activities in Botton village. To understand how great Camphill works, to feel the products would be the quickest way. When you see how they are influenced by Steiner’s Goetheanum and his arts, and when you see how they meticulously form their own products as you can see the brand with a hot iron, you can feel the grand system lying ahead. Not exactly being bilaterally symmetric, the slight distortion boosts its beauty even more. The surface finished with oil also fits into your palm. Camphill product is purely, truly the descendent of Steiner’s art.

All photos except the candle stand from Nishida (2004)

81

No. 4

Name of

✓ Manufacturer:

Products:

Choroi Instruments

Category: Instruments by Handicapped People

Bd

Principle:

Design Method:

Similar, but not exactly the same Steiner font on wood boards.

Buffing.

Cutting by Machine.

Carving accurately the very sensitive part where only he can carve.

Glueing with pressure.

Basic pattern of lyre.

Choroi is located in the middle of “Steiner village” approximately 10km square. Choroi started manufacturing instruments with handicapped people in 1968 as Choroi International. The process flow of work consists of 70% of handcrafting. It starts with choosing the material. 10 out of 100 logs of raw woods can be used for lyre.

They use four kinds of sand papers, very fine powder from stones from volcanoes, and natural oils to buff. Choroi designer says, “ [...] We used to enjoy natural sound through our lives. In this 30 years, however, sounds have got louder and louder. I think we are pursuing another kind of stimulation with hearing the sound louder than ear can hear. Sound is expanding outward. Choroi goes the other way around. Choroi sound shrinks inward. Sound gets softer and softer, and eventually you can’t even hear. We are trying to hear the unheard.”

Choroi instruments are widely used in Steiner activities including Waldorf schools and Steinerian hospitals with therapeutic usage.

(All images except the bottom four pictures from Nishida (2004) including the logo traced from the article.)

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No. 5

Category:

Name of

Manufacturer: ✓ Products:

Interior DecorationsBd

Ornamentations for Waldorf Schools etc. Principle:

Design Method: Straw Plaiting.

Christmas Set

Himmeli.

Coalescent legs and hands.

Natural decorations especially those w/spirals oriented products.

Christmas decoration w/simple expression and w/coalescent legs.

Direct Use of Material.

↓ Light woolen ornaments.

Direct Use of Material. Mushroom decoration in order to diffuse scent.

Interior decoration that moves w/subtle air current inside a room. Beautiful transition of gradation on the surface represents the movement.

Manufactured by Schwarzwald: Handcraft in Germany.

Interior decorations for Waldorf schools have fairly unique characters comparing to other decorations. Like the other Steiner-associated products, the ornaments also are influenced by Steiner’s design principles and methods. Straw plaiting is a type of ornamentation which uses straws to form a geometric, yet organic shape. See Berger (1992) for more details.

(Woolen ornament picture from Sasaki (2007). Below 5 images from Berger (1992).

83

No. 6

Name of

✓ Manufacturer: ✓ Products:

Bd Others in Waldorf education

Category: Toys, Waldorf Education

Principle:

idea

Design Method:

naked branches become blocks. some can be stacked together, some cannot. Through this block children can feel the raw form of the nature.

Similar, but not the same detail with the ancestors. Material partly decides the form too.

Ancestor with more chamfer, less fillet, letting children feel more of a geometric form.

Coalescent, continuous curved surfaces gather into one.

Using the raw logs, dreblätter’s building blocks are not easy to stack. The small houses are strongly influenced by Steiner architecture, using fillet, chamfer, organic shape, and coalesccence of the floor and the walls, and eventually even with the roof. Although the entire silhouette is similar, the details are somewhat different.

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No. 7

Name of

Manufacturer: â&#x153;&#x201C; Products:

Waldorf Figures

Category: Figures for Waldorf Education

Bd

Principle:

Design Method:

Waldorf Figures use extremely fine materials. Depending to the manufacturers the expression varies .

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Chapter 4. Discussion

Chapter 4. Discussion.

86

Chapter 4. Discussion

In this chapter we discuss the relationships between Rudolf Steinerâ&#x20AC;&#x2122;s architectural principles and design methods and the associated manufacturers.

4.1

3 Organized Matrixes.

First of all, from the results we extracted in Chapter 4, the works (see Chapter 2) and the principles and the methods form matrixes. In the matrixes, the works and the manufacturers (rows) correspond to their each principles and methods (columns). From the literature and the photos the authors took, the visual expression of matrix are compared in 4.4.1.

Some of the cells are not filled because the works or the manufacturers do not seem to fulfil the conditions. Some of the principles are not even in the matrix for the manufacturers. This is because those are exclusively applicable to architectural works (eg. The House of Speech.) Some does not seem to be appropriate to be applied, but nevertheless we put as many examples as possible for the sake of showing that they try to achieve the principles or the methods.

The icons above the principles/methods correspond to those for Chapter 4. idea

General Principles Principle of The House of Speech.

Principle of Weight and Support

idea

Principle of Metamorphosis

Design Methods

Principle of Conflict and Balance of Ahrimanic & Luciferic Force

Merged roof-wall

Principle of Chromatics; Theory of Colour Principle of Jelly Mould: Functionalism in its true meaning

Bd Am

Bd

Design of movement, expression of movement, expecting movement around it

2D chamfering 3D chamfering

Social Movements and Methods Based on the principle of Waldorf education and Steiner pedagogy Based on the principles of Anthroposophic Medicine Based on the principles of BioDynamic Agriculture

Bilaterally symmetric Calm looking, or no expression of face Simplification, abstraction, modelization of form Coalescence of fine forms into a simple form

Diagrammatic Methods Strong usage of Euclidian regular polygon or forms close to those Strong influence of form drawing-based movement and trajectory theory Strong usage of diagramatic, geometric, wireframe in plans, programme, silhouette, and form

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Rough woodcarving Direct use of material Organic living form

4.1.1

Architectural Works by Steiner

idea House of Speech

Newer

Chromatics

Jelly-Mould Principle/ Functionalism

Load & Support

Metamorphosis, Geometric Programme

Chamfer/Fillet/Woodcarving

Organic Shape

Direct Use of Material, Form from Material

2nd Goetheanum (1923-1928)

Agematsu, 1998

Photo Taken by Takei, 2010

Photo Taken by Takei, 2010

Agematsu, 1974

Steiner et al., 1982

Agematsu, 1998

Photo Taken by Takei, 2010

Beard, 2003

Photo Taken by Takei, 2010

Agematsu, 1974

Agematsu, 1998

Beard, 2003

Hartmann, 1971

Agematsu, 1998

Agematsu, 1974

Agematsu, 1998

Agematsu, 1998

Agematsu, 1998

Beard, 2003

Agematsu, 1998

Agematsu, 1998

Agematsu, 1998

Agematsu, 1998

Beard, 2003

Agematsu, 1998

Agematsu, 1998

Agematsu, 1998

Agematsu, 1998

Agematsu, 1998

Agematsu, 1998

Agematsu, 1998

Beard, 2003

Kugler et al., 2007

Beard, 2003

Agematsu, 1998

Beard, 2003

Agematsu, 1998

Agematsu, 1998

Beard, 2003

Agematsu, 1998

Agematsu, 1998

Steiner et al., 1982

1st Goetheanum (1913-1922)

Haus de Jaager (1921)

Haus Duldeck (1915)

Heizhaus (1914)

Agematsu, 1998

Glashaus (1914)

Photo Taken by Takei, 2010

Agematsu, 1998

Johannesbau (1910-1913)

Older

[CONCEPTUAL]

[DIAGRAMATIC]

88

[DESIGNMETHOD]

4.1.2

idea

Architectural Works by Disciples Chromatics

Järna by Erik Asmussen et al.

Jelly-Mould Principle/ Functionalism

Weight & Support

Non-Rectangular Plan

Metamorphosis

Chamfer/Fillet/Woodcarving

Organic Form

Materiality

XL

Freie Waldorfschule am Bodensee & Freie Waldorfschule Heidelberg by FrankRüdiger Hildebrandt et al.

L

[1]

[2]

Freie Waldorfschule Göttingen, Freie Waldorfschule Karlsr u he, and De Vrije School Den Haag by BPR Rudolf-Steiner-Schule Salzburg, Freie Waldorfschule St uttg a r t-Uh la nd shöhe , Lehrerseminar, Festsaal by BPR and Gutbrot et al.

[3]

Diploma Design Project

Other architectures by Rex Raab, Erik Asmussen et al.

ICE (Inter City Express)

M

All pictures from Agematsu (1998) except the following from their official web site.

[1]: http://www.waldorfschule-uhlandshoehe.de/hauptnavigation/schule/gebaeude/ [2]: http://www.waldorf-hd.de/

[3]http://www.waldorf-am-see.org/

89

4.1.3

idea

Products by Associated Manufacturers Steiner Fonts/Logos

Chromatics

Simplification/Abstraction

Meticulous Detail w/ Finest Material

Chamfer/Fillet

Geometric Form

Woodcarving

Organic Shape/Silhouette

Direct Use of Material

Ostheimer

Stockmar

Camphill

Choroi

Schwa r z wa ld & Other Ornamentation

[Others, No Brand Toys & Ornamentations ]

Waldorf Figures & Woolen Products

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Chapter 4. Discussion

4.2

Discussion on Steiner architecture.

In this section we discuss the following topics related to architectural works by Steiner. First we connect the principles with the perspective of Conflict of Ahrimanic and Luciferic Elements and Its Balance.

4.2.1 A Synthesis of Principles: Middle Way. While other ‘organic’ arhitects suh as Hugo Häring insist that the forms in the nature never consist of straight lines and thus geometry is an opposite to organic architecture (Agematsu, 1974). Häring even criticizes Le Corbusier for “constraining geometry too much.” Apart from the fact that the term ‘Le Corbusier’ here means pure ‘functionalism’ not ‘Ronchamp,’ Häring seems to focus only on the dead form of the nature. Organism is never merely curvature.

Organism is never merely an opposite method of geometry. Häring seems to have forgotten the fact that organism moves.

fig. 77 Video by nibo at Raster Noton Tour in Daikanyama UNIT (2010.11.5). Photo taken by the author

Take Raster Noton, one of the most influential labels in electronic noise music. As seen in the figure above, their main interests are on wire frame–which can be directly related to the

91

Chapter 4. Discussion

beauty of 3D wire frame imported from architecture or industrial plans, drawings, diagrams, and 3D models, often through CAD. At the same time, their music and art is strongly influenced by post-modernistic thoughts, including Deleuze et al. (1980).

The following diagram also represents the conflict directly, showing that divinity in architecture would not exist without both of them.

fig. 78 Diagram for Load (Weight) and Support Principle (Beard, 2003:24).

In the book Experiencing Color between Darkness and Light, Schroff presents a similar analogy for colour.

fig. 79 Color between Darkness and Light(Schroff, 1985)

One cannot perceive colour in complete lightness or in complete darkeness. Colour only exists between them. It is easier to have those extreme poles than to balance the light to have colours.

92

Chapter 4. Discussion

fig. 80 Forms surrounded by stronger exterior(Hartmann, 1996)

fig. 81 Forms surrounded by weaker exterior(Hartmann, 1996)

fig. 82 Red Stained Glass in The West Wing of The First Goetheanum (Hartmann, 1996)

“The radiating straight sunlight means the spacial force. The concentrically spreading curve weak light from right represents the timelike force.” (Hartmann, 1996). Left would be Ahrimanic, Right would be Luciferic. Hartmann’s (1996) analogy goes on.

fig. 83 A STRAIGHT Rod of Emperor (Left) as a Representation of Authority and a CURVED Rod of Bishop as a Representation of Guiding. (Hartmann, 1996)

93

Chapter 4. Discussion

fig. 84 Ancient Egyptian Pharao w/both Straight and Curve on His Hands (Hartmann, 1996)

The most familiar example would be, we think, the symbols “!” and “?”. ! represents Ahrimanic, scalar value of intention. ? represents unmeasurable human feeling.

!

&

?

Between the two extreme poles, and...and...and... principle (Deleuze and Guattari, 1980) has the potential to be the balance. See 2.10 Rhizome.

The following table shows the relationships of Ahrimanic and Luciferic elements in conflict.

To balance them, architecture, or Christ, acts beyond those principles as we have seen in 3.1.3.

This kind of “middle way” principles are fairly common all over the world. Just to evoke a feeling of an analogical model, here we present the typical examples:

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Chapter 4. Discussion

table 2 Conflict of Ahrimanic and Luciferic Elements and Its Balance.

Extreme Pole(+) Ahrimanic Rudolf Steiner Rudolf Steiner Rudolf Steiner, Yin-Yang

Descending Power Load Pointy, Edgy, Hard, Solid, Governing, Masculine, Sun, Positive Buddha Extreme of Self-mortification Bauhaus Industry, Technology Rudolf Steiner Technology, Mechanic Rudolf Steiner Exterior Rudolf Steiner, Marx Materialism - Socialism Rudolf Steiner Rationalism Rudolf Steiner Geometry of Movement Deleuze, G; Guattari, F. [Paranoia?]

Asada, Akira. Nakai, Hisao Nakai, Hisao Obsessive-compulsive Nakai, Hisao Agricultural People Nakai, Hisao Rudolf Steiner To make everything computable Rudolf Stiner

Balance(0) Christian

Extreme Pole(-) Luciferic

Balance Between them (Architecture) Rising Power Divine Support Soft, Cur ved, Fluid, Yielding , Feminine, Moon, Negative Middle Way Extreme of Sensual Indulgence Architecture, Sculpture, and Drama Art [Design?]

Art Architecture Interior Mentalism/Idealism Aesthesis Organic Curve [Schizophrenia?] [S-affinity Circuit?]

Schizophrenia Hunting People To let thoughts and will spread without any restrictions

Nakai, Hisao

The world that can be heard and seen Human as Opposed to Nature Differentiating Circuit of Mind

Human as a Part of Nature Integrating Circuit of Mind

Rudolf Steiner

Allocentric

Self-centred

* Elements with [ ] are the additional complements by the authors. Note that this perspective is oriented from the author, and thus neither Nakai nor Deleuze have made mentions on Ahriman nor Lucifer.

4.2.2 Discussion on the architectural material adoption.

Material becomes material when it dies. Resource and material are clearly separated in the process of design. Take food for example. Organism achieves the possiblity to become food when it dies. Same thing can be said on the materials that used in architectural construction.

We achieve the expected material with cutting/chopping/dissecting the resource. Achieving the constructive materials include the process of destruction.

Contextualism of Steiner architecture We see the contextualism of Steiner in the answer we have mentioned before that if he could, he would have liked to cover the entire Johannesbau exterior with soil and let the grasses grow.

Without citing famous architects mentioning about covering the architecture with greenery or making the architecture look like a mountain, we know that this concept is well known and popular today.

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fig. 85 Kuma Knego Competition Proposal for ICC.(Kuma, 2009:75)

4.2.3 Discussion on the emphasis on the process of productions.

One of the most important characters of the strategy of Steiner is that he stresses the importance of production process. Steiner listened to his colleagues at times. Even though he wanted concrete as the material for the first Goetheanum, as someone insisted on using wood, he changed his way. And in the mean time he has the ability not to be manipulated by the reputation. “This (Heizhaus) building is especially being criticized hard (Agematsu, 1974).”

Steiner said. And yet he would insist his justice. He sometimes regret adopting the ideas of the others (as previously explained). He sometimes regret not adopting the ideas of the others (“It would have been better if we had woodcarved from the beginning (Steiner, 1957).” ). Making mistakes in the middle of design was even in his consideration of the design strategy.

Discussion on the processes of metamorphosis.

Although this is not directly related to Steiner’s design process, it is possible to categolise this transformation also as a part of the process of metamorphosis of the second Goetheanum.

Relating to the transformation of seven columns, it might be considered to be shame, because

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presumably Steiner did not want other â&#x20AC;&#x153;columns,â&#x20AC;? or in other words, the supporting vertical elements than the existing seven. We, however, think that Steiner would not oppose to renovate just because he wanted seven. Rather, we would like to point out the corruption of the interior facade. The organisation somehow considered the plain, primitive interior elevation not appropriate for the Goetheanum.

fig. 86 An Interior Perspective w/Plain Walls. (Agematsu, 1974)

Instead, they preferred and installed organic, decorative facade just as the ones appeared in the first Goetheanum.

fig. 87 Construction Process of Organic Shape in the Renovation (Agematsu ,1998)

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fig. 88 Reproduced Forms without Stained Glasses (Agematsu, 1998)

Although Agematsu (1974) considers that Steiner designed only the exterior of the second building because he had already designed interior perfectly in the previous version, we think that the persistence character of the second Goetheanum to always be primitive must not be abolished. Designing the interior of the second Goetheanum must not be mere cut & paste from the previous. Designing the interior must be contextually continuous in terms of design method. In the second version Steiner never was based on the principle of the decorative, introspective design methods. While Ferger et al. (1991) consider that the second Goetheanum has been taken changes for worse, we think that the renovation of the facade in 1996 must be at least reconsidered whether it was appropriate.

fig. 89 Coloured New Columns through Stained Glasses. (Agematsu, 1998)

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fig. 90 Major Renovation Plan for the Hall. (Agematsu, 1998)

Here, quoting Steiner’s statement in 1924 once again makes the discussion clearer. “Time is reality. [...] If we declared the same thing in the same way we have already done in 1919 once more, we would have fallen back for a century. [...] Likewise it is impossible to architect the same way today in 1924 as we have in 1913 to 1914.(Agematsu, 1974:294)” Design must not even stay, let alone falling back. Therefore, we propose a hypothesis here: To follow Steiner is not to imitate Steiner, but to evolve Steiner’s design continuously.

Discussion on the visualization activities.

Steiner was a man of visualization. As we have borrowed in this article, he often drew diagrams to explain his deep thoughts as we have introduce many through the thesis. In a sense, his blackboard drawing is regarded as one of the most artistic series of diagram. Without telling through language or literature, he preferred using materials, form, colour, diagrams, pictures, movement, context, sculptures, and so on to express. In short, through the arts he wanted to tell his principle. And so, in the thesis we intend to use visual expression as clear as possible, as many as possible. Steiner’s followers also try to express and expand the world of

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Steiner through all means. rsarchive.org is one example, which contains Steiner’s literatures, both raw and translated.

4.3

Discussion on CI.

Discussion on an aspect of Collective Intelligence (CI) or participatory design.

One might feel that such cutting-edge fashionable term would not be appropriate to explain Steiner design. We, however, emphasise the incredible spirit of innovation Steiner has conquered. CI or participatory design method are not the exception. Unlike typical architects, especially the ones that have very peculiar characters and careers, Steiner worked with his colleagues and supporters.

Why has it not researched yet?

A way to answer this question is the relationships between Steiner and corporations. Steiner was never happy with capitalism. Steiner was never happy with earning money with designs.

Therefore, Steiner would never be happy to be researched as a subject of Corporate Identity.

Nevertheless, Steiner also insists that we must adjust ourselves to the current situation. And from there, we shall seek the way to live in an artistic life. Would there be an art(Luciferic) inside industry(Ahrimanic)? Would there be an art(Luciferic) inside corporation(Ahrimanic)?

We do not know, but we do feel that the products based(Anthroposophic) on Steiner’s principles and methods are beautiful.

Trial and error design strategy.

Steiner also admits the errors on the first Goetheanum. In 1921, when one year and a half before the arson, Steiner spoke “One can criticise the building utterly. Things that created first, however, cannot avoid the destiny to be incomplete. I myself acknowledge the defects of the building well. Thus, if I should have designed the building once again, even if it would follow the same principles, it must have been completely different from the tiniest details to the whole building. But, once something new must start to happen, we must make our best effort to create the best at that time. (Agematsu, 1974:295)” This represents his orientation toward architecture so explicitly.

1. A product of design would not be successful on the first attempt.

2. A product of design must be improved when reproduced.

3. A product of design must be put the best effort one can make in the given situation.

We can also extract the ideal position of designer.

1. One must admit their fault.

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2. One must hear the criticism.

3. One must improve the design.

4. One must not stay in a position whilst everything moves forward.

Unfortunately, the counterfactual thinking of the necessity of redesigning the building became reality in a year. And as he preannounced, he created the second Goetheanum following the same principles creating perfectly new form architecture.

Steiner was not a specialized architect. Being not specialized does not mean that he was an amateur but means that he was so generalized and so energetic for all those vast activities.

The characteristic approach to architecture also infected the way he designs. As he was not an architect everyday in his 64 years of life, his interest exceeded the boundary of ordinary architects. He thought of things architects have never thought. He boldly expressed his ideas even though it was too advanced and was not ready to be accepted.

fig. 91 The grave of Rudolf Steiner. http://upload.wikimedia.org/wikipedia/commons/7/7e/Rudolf_Steiner_Grabmal_Dornach.jpg

Even the grave of Rudolf Steiner follows the principles and methods we extract: Chamfering, Steiner font, bilaterally symmetry, direct use of material, geometric form.

4.4 Discussion on the Influence of Rudolf Steiner’s principles and design methods: A Synthesis of The Designs.

In this section we extract a representative example that explain the clear relationships between the ancestor (Rudolf Steiner and his designs) and the descendant. In accordance with the principles and the methods, it is possible to compare any elements each other. But the purpose of the matrix is not to compare everything but to create a kind of “section” of the

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synthesis of the designs.

The preliminary concept of the thesis is to establish a relationships between Steiner architecture and those toys. It is truly a wonderful surprise to find the exactly the same feeling from the same finish on toys and architectures.

4.4.1 Comparison between Architectural Works and Toys.

As we have noticed, here in this section we compare the actual examples of the flows.

fig. 92 Detail Shot for Woodcarving on the Second Goetheanumâ&#x20AC;&#x2122;s Entrance Door for the Hall.

fig. 93 Woodcarved Detail of a Candleholder Manufactured by Camphill Botton Village.

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fig. 94 A Candleholder Manufactured by Camphill Botton Village and a Candle by Stockmar.

See how perfectly designers and manufacturing labours learn and adopt the design method.

It is not the woodcarving itself that creates the identity. The whole body of a mere candleholder truly speeches to us â&#x20AC;&#x201C; through the form. Not only having successfully adopted the design method, they were even able to fulfil the principle of The House of Speech.

fig. 95 Entire Form.

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How is that even possible? It makes even less sense that they have something as weekly lecture course for every villagers to learn how Steiner found his Goetheanum. And even if so, acquiring the concurrent identity cannot be such an easy way.

One possible answer to this comes out of the background of Camphill Botton Village. As shown in 3.4, Camphill villages are the communities that are entirely based on Anthroposophy. If the villagers live in Anthroposophy, the villagers are already as Anthroposophist as they can be. However, this is still a matter of speculation.

4.4.2 From Shared Principles via Shared Designs toward Shared Identity.

Therefore, In this section we speculate further.

Steiner does not seem to have consciously intended his works to be the design sources. Still we can feel the same (more accurately, almost the same) feeling from his works and the followers’ works. This is of course not a coincidence.

Designing identity is one of the most cutting-edge, important, profitable, and yet not accomplished field of design. Corporations all over the world have been trying to satisfy the need with Corporate Identity. As we have seen in Chapter 2, Corporate Identity are sometimes even taken as a part of styling (designing only the visual side, façade design, appearance design).

However, ideal Corporate Identity establishes clear, unique, yet flexible identity of the corporation, which have not been achieved by many company around the world. From that fact we insist that the current methodology they adopt is not the answer for that: On the contrary, we insist that the answer is right here in the Thesis: The way Steiner created Anthroposophy and his works. Although Steiner himself was a great architect, a great painter, a great educator, a great occultist, and a great philosopher. The “great” here means that he had great talents and had great influence in each fields, but at the same time not the best far and wide. What he has done the best and only is, in our opinion, synthesizing the cross-cutting designs. And so we state that Anthroposophic design goes through starting from shared principles via shared design methods to shared identity.

4.4.3 Autonomic Evolving Designs: Flowform.

In this section we discuss the spacial equipment called ‘Water Form.’ The main logic here is that the design that has already left the hands of Steiner is now walking by its own.

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fig. 96 Flowform in J채rna Designed by the Inventor John Wilkes. (Agematsu, 1998)

Originated from J채rna, the centre of the Anthroposophical movement in Northern Europe, flowform has been the iconic spacial device for Anthroposophical architectures. Many flowforms are installed to the ground of schools, community centres, and even in a piazza (Agematsu, 1998).

fig. 97 Drawing for the Flowform in J채rna (Agematsu, 1998)

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fig. 98 Flow forms in Freie Waldorfschule am Bodensee. http://www.waldorf-am-see.org/galerien/au_engel_nde/flowforms_jpg. jpeg.html

What is interesting here is that flowform was not invented by Steiner but by one of the followers. Anthroposophical designs are not about imitating Rudolf Steiner himself but about following Rudolf Steiner’s design principles and methods. And along the principles, one must evolve the principles and methods as the time passes. Ironically, according to a Steiner’s principle, Steiner’s principles shall not stay exactly the same as it was in 1925. Flowform is one of the example how to evolve from the Urpflanze Steiner – and have their own branches and leaves. If we classify the designs we have analysed in Chapter 3 as beautiful leaves and petals, flowform can be classified as a beautiful seed from Steiner that could create another, different identity.

fig. 99 Form Drawing for The Movement of Engulfment and spread w/spiral (Kranich et al., 1994)

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Chapter 5. Project and Conclusion.

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Chapter 5. Project and Conclusion

Taking the results we have gone through Chapter 4 into consideration, we now are able to even go further to design an architecture that follows the principles and design methods we have extracted(As a matter of fact, I have put my proposal in 4.2). And so, here we propose a Waldorf school.

fig. 100 A Preliminary Sketches.

fig. 101 Perspective View from East.

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fig. 102 Diagrammatic Plan Shows its Colour Planning.

fig. 103 Perspective Rendering from West.

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Conclusion

In this thesis we reviewed Rudolf Steiner, analysed his design principles and methods, then analysed the manufacturers following Steiner along those, and then made matrixes to show the relationships. The result data sheets clarified the strong inheritance of both data principles and methods. But the relationships and the flows were still not explained well enough.

And so we have introduced CI (Corporate Identity) to discuss further, even though we knew that the conventional idea of CI today is far, far away from Steiner’s philosophy. Still, being encouraged by Steiner’s idea “Always adapting to the (industrialized) real world,” we took the risk to endanger the artistic Anthroposophy to the means of profitable management strategy.

My research question was implicitly dominated the thesis: ‘how the manufacturers associated with Steiner achieve a synthesis of design?‘ And now, taking the results and discussions we made into consideration, we can conclude as follows.

With the design principles and methods by Rudolf Steiner, the manufacturers have accomplished concurrent identity that bonds them stronger than CI, more flexible than CI, softer than CI, and more sustainable than CI.

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Reference *The references without any English explanation are shown in Japanese or German to keep precision of the title. The references with Japanese titles also contain Japanese titles just to make it convenient to access, because we cannot find them in English.

Agematsu, Yuji. 1974, Architecture as The Perspectiv e of The World. 3rd Ed., Sagami Shobo, 335p. 世 界観としての建築 – ルドルフ・シュタイナー論 慶應義塾所属の図書館で唯一の日本語で書かれた建築家・シュタイナー論。理工学 的というよりも芸術作品としての建築を扱っているためか三田から取り寄せる必要 がある . シュタイナー建築の基礎となった人智学、建築、そして建築から発展して いく芸術の三部にわかれている .1974 年と書かれた時期が古いため最近の改修工事 などについての動向については触れられていない .

Agematsu, Yuji. 1998.3.25, Steiner Architektur: Und der Bau wird Mensch. Tokyo, Chikuma Shobo, 319p. Japanese Title: そして建築が人になる 詳しい解説付きの写真集 . シュタイナー学校や影響を受けた銀行、鉄道まで取り扱 う .『世界観としての建築』を補完するような内容も含む . 湘南藤沢キャンパス図書 館から取り寄せ .

Agematsu, Yuji. 1985.8, Rudolf Steiner. Tokyo, Parco. 建築だけでなくむしろ彫刻や素描などに詳しい写真集 .

Baravalle, Hermann von. 1991, Geometric Drawing and the Waldorf School Plan. Rudolf Steiner College Publications, 54p. シュタイナー教育における幾何学の本．School plan は平面図ではない． Berger, Thomas. 1992, The Harvest Craft Book. Lawson, Polly. Trans., Edinburgh, Floris Books, 80p. 季節（特に収穫の時期である秋？）を感じさせる植物を使った，室内装飾の作り方 やバリエーションについての本．Floris Books のロゴもまたシュタイナーフォント が用いられている． Carlgren, Frans; Grosse, Rudolf; Weissert, Erns; Klingborg, Arne. 1982, Erziehung zur Freiheit: dd.

Pädagogik Rudolf Steiners; Bilder u. Berichte aus d. internat. Waldorfschulbewegung. Takahashi, Iwao,

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Takahashi, Hiroko Trans., Stuttgart, Verlag Freies Geistesleben, 210p. Japanese Title: 自由への教 育 〔日本語版〕 ルドルフ・シュタイナーの教育思想と国際ヴァルドルフ学校運動 の教育実践 . シュタイナー教育に関して網羅的に紹介する本．大量のエポックノートのコピー， 水彩画や授業風景などが載っており入門に最適． Deborah Gans Ed., 2003, The Organic Approach to Architecture. West Sussex, John Wiley & Sons Inc., 190p. テクノロジーとしての有機的建築を取り扱う．湘南藤沢キャンパスから取り寄せ． Deleuze, Gilles; Guattari, Felix. 1980. Mille Plateaux Capitalisme et Schizophrénie, Paris, Les Editions de Minuit. 未だに読み解かれていないといわれる哲学者と精神分析医のアイデア集．シュタイ ナーの哲学と結びつけるのは無理があるかもしれないが，ポスト - 二元論という意 味で近い．Google Books でリゾームの部分は英語で閲覧可能． Dal Co, Francesco; Forster, Kurt W; Arnold, Hadley. 2003, Frank O. Gehry: the Complete Works.

Milano, Electraarchitecture, 614p.

Hartmann, Georg. Goetheanum Glasfenster. 1971, Steiner kyouiku no ishizue, Mori, Shogo. Trans., 63p. Japanese Title: ゲーテアヌムのステンドグラス . とても薄いポケットブックだが，他の本にはない分かりやすい説明や逸話が含まれ ている．著述にはあまりにシュタイナー原理的で非科学的に思える部分も多い． Igarashi, Taro. Pices Architect, Frank Gehry: From the Road, Still Rolling. http://tenplusone-db. inax.co.jp/backnumber/article/articleid/903/ 掲 載『10 ＋ 1』No.15（ 交 通 空 間 と し て の 都市──線／ストリート／フィルム ･ ノワール）pp.243-253 1998.12.10, (cited 2011.1.24) ゲーテアヌム近郊のヴィトラ家具ミュージアムでうけたゲーリーの影響について． Kobayashi, Kiyotaka; Tkahashi, Atsushi. 2001.9,A study on the educational environmento [sic] and the educational philosophy in Steiner’s [sic] school. 日本建築学会大会学術講演梗概集（関東） pp. 19-20 Japanese Title: R・シュタイナーの思想と建築から見た教育環境 イェンス・ペータースの教室の形の指針スケッチをもとにウォルドルフ学校の建築 について紹介．誤りが多い．他学校のプランに付いて言及しておらずむしろハイデ ンハイム校の研究．

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Kawakami, Masanori.; Itoh, Masahiko.; Senda, Mitsuru.; Yada, Tsutomu. 1998.9 A Study of Steiner infant education space in Japan -The relation between the educational ideas and space. 日本建築学 会大会学術講演梗概集（九州） ，E-1 分冊，p.29, 日本におけるシュタイナーの幼児教 育空間に関する研究 – 教育理念と空間の関係性について 日本の幼稚園の建築に関して分類，典型的なデザイン手法をまとめている． Kranich, Ernst Michael; Jünemann, Margrit; Berthold-Andrae, Hildegard; Bühler, Ernst; Schuberth, Ernst. 1994, Formenzeichnen: Die Entwicklung des Formensinns in der Erziehung. Mori, Shogo, Trans., Tokyo, Chikuma Shobo, 239p. Japanese Title: フォルメン線描 : シュタイナー 学校での実践と背景 Niederhauser et al. (1983) に比べてより専門的なフォルメン線描の仕組みについて．フォ ルメンから発展する幾何学についてや，建築との関連についても詳しく書かれてい る． Kugler, Walter; Bauer, Simon. 2007, Rudolf Steiner in Kunst und Architektur. Köln, DuMont Buchverlag, 419p. 三田図書館から取り寄せたがドイツ語による記述のため本文は引用できず．代わり にシュタイナー自身による宝石細工の写真，スケッチという他の本では言及すらさ れていない分野を発見できた．白黒の印刷も精緻でコントラストが高く，装幀が美 しい． Kuma, Kengo. 2009.10.15, Studies in Organic. TOTO publisher, 348p. 隈氏による（戦略的）有機的建築をまとめた本． 「最先端」の最もファッショナブル な有機的建築の姿． Le Corbusier. 1957, Oeuvre compléte : en 8 volumes / Le Corbusier. - Basel ; Boston ; Berlin: Birkhäuser LC の作品集．印刷が白黒． Mishima, Kenichi. 2010.1.12, Walter Benjamin; Destruction, Anthology, and Recollection. Tokyo, Kodansha. 537p. Japanese Title: ベンヤミン：破壊・収集・記憶 ヴァルター・ベンヤミンについての解説本． Motomura, Y. 1997.12, A Study on the Organic Architecture: R. Steiner’s Architecture-Theory[sic]

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Bulletin of Hiroshima Jogakuin University 47: pp. 167 - 181, Japanese Title: 有機的建築の研究 -R. シュタイナーの建築思想について Nakai, Hisao. 1982.2.15, Schizophrenia and Human. Tokyo, Tokyo University Publishing, 252p. 精神上の対立する二極端について説明している．初学者には分かりづらいが，アー リマン – ルーチフェルの対立とその中道としてのキリスト – 人間像を理解するのを 助ける． Niederhauser, Hans Rudolf; Takahashi, Iwao. 1983, Form Drawing. Takahashi, Iwao, Trans., Tokyo, Sorinsha, 140p. ISBN 1036-1015-4281 フォルメンだけに限らず，ウォルドルフ教育の説明にまで発展していく．膨大なウォ ルドルフ教育の一角を説明することで全体を感じることができる． Nishida, Setsuko Ed., 2004.10.28, おもちゃ箱の仲間たち Vol. 5 Omochabako Co., Ltd. 104p. おもちゃを販売するおもちゃ箱のカタログ． Pearson, David. 2001, New organic architecture : the breaking wave, Berkeley, University of California Press, 223p. 世界中の様々な有機的アプローチを紹介する写真集．そのうちのひとつである牛田 フィンドレイの Soft and Hairy House を見に行ったがサルヴァドール・ダリのシュ ルレアリズムは感じられなかった．有機的建築の難しさを読み取れる．印刷の質が 低い． Honda, Megumi. Shirakaba Tosho Ed., 2006.6.20, “Steiner” in Japan, from the fields. IzaraShobo, 222p. Japanese Title: 日本の『シュタイナー』その現場から : 教育・建築・農業・医療 ほか 日本における様々な実践の姿を紹介している本． Riley, Terence; Reed, Peter, Ed., 1995.4.30, Frank Lloyd Wright/Architect. Tokyo, Delphi Research, 354p.

FLLW の提唱する有機的建築とシュタイナーとの差異を見るために読んだ． Sasaki, Nanako. 2007.9.16, ウ ォ ル ド ル フ の 手 仕 事： 心 を 育 む 人 形 た ち . Tokyo, Bunka Shuppankyoku, 87p. ウォルドルフ人形の作り方の本．撮影が極めて美しい．

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Schroff, Lois. 1985, A Painter’s Handbook: Experiencing Color between Darkness and Light. Newlight Books Herndon, 62p. アメリカで入手した層技法の色使いについてのハンドブック．ゲーテの色彩論にも 言及． Schuyt, Mike; Elffers, Joost; Ferger, Peter. 1991.5.20, Rudolf Steiner und seine Architektur. Nakamura, Shizuo, Trans., 2nd ed., Shubunsha,192p. Original published in Köln, Du Mont Buchverlag, 1991. 前半がシュタイナーの建築論で，後半が写真集．第一ゲーテアヌムに重きを置いて おり，第二は他人が手を加えた「価値ある記念物」と捉えているのが興味深い．翻 訳が酷すぎて一読では理解はほとんど不可能．

Steiner, Rudolf. 1984, Reproduktionen aus dem malerischen Werk von RUDOLF STEINER. Dornach, Rudolf Steiner Verlag, 29p.

Steiner, Rudolf. 2005.8.31, Steiner’s Beautiful Life: from Architecture to Garment and Language.

Nishikawa, Takanori Trans., Futohsha, 205p. Japanese Title: シュタイナーの美しい生活 – 建 築から服飾そして言語 比較的新しい本なので翻訳が読みやすい．建築の姿勢，教育とアーリマン – ルーチ フェルなど分かりやすい現実的なテーマを取り扱う．建築と衣服の関係など他の本 にはない記述も多いため参考になる．後半のホメオパシーの記述に関しては，当時 の最先端，現在の疑似科学と言うほかない． Steiner, Rudolf. 1957, Wege zu einem neuen Baustil. Agematsu, Yuji Trans., Stuttgart, Freies Geisteleben, Sagamishobo, 272p. Japanese Title: 新しい建築様式への道 1914 年ごろのシュタイナーによる講義録．シュタイナーの建築理念のほぼ全てが 含まれる．建築史の解釈などは難解．デザイン理念は喩え話を含み分かりやすい．

Steiner, Rudolf; Oberhuber, Konrad; Kugler, Walter; Pehnt, Wolfgang. 1996.11.30, RUDOLF STEINER BLACKBOARD DRAWINGS - WHEN EARTH BECOMES MOON. Takahashi, Iwao, Trans., Kugler, Walter, Ed., Tokyo, Chikuma Shobo, 154p. Japanese title: ルドルフ・シュ タイナー 遺された黒板絵 . ワタリウム美術館で行われた黒板絵のカタログ．ひとつひとつにその講義でのシュ タイナーの発言が載っており，雰囲気が伝わってくる．それだけでなく他の本には

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載っていない逸話を含んだ記事が多数収録されている． Beard, Andrew; Steiner, Rudolf . 2003, Architecture: an Introductory Reader. Sophia Books, Hillside House, 274p. 上松翻訳による新しい建築様式への道の英訳や新聞記事などシュタイナーの発した 様々な発言．分かりやすくしかも詳しい解説がついている． 写真の解像度が少し低い． Google Books で一部閲覧可能． Steiner, Rudolf. 1951, Und der Bau wird Mensch. Osmond D.S. Trans., Die Ziele des JohannesBauvereins Ed., http://wn.rsarchive.org/Architecture/TmpMan_index.html, (cited 2011-01-05).

Rudolf Steiner Archive という著作権切れのシュタイナーの著作を公開している電子図 書館で得た「そして建築が人になる」 ．他にも大量の本が公開されている（ただしダ イジェスト版）． Tanaka, Yoh. Design Theory. 2000.6.8, Tokyo, Iwanami Shobo, 149p. Japanese title: 岩波講座現代 工学の基礎 デザイン論《技術連関系 VI》 デザイン工学について過不足なくまとめられた本．実例が多くわかりやすい Tsuchiya, Fumiaki. 1994. 自由ヴァルドルフ学校の学校建築（１） ：シュタイナーのゲー テ自然科学研究理解 . 小樽商科大学人文研究 , 87, pp. 231-253 ゲーテ論を展開している．

Bibliography Werner, Frank. Covering + Exposing: The Architecture of COOP Himmelb(l)au. Robinson, Michael, Trans., Basel; Berlin; Boston, Birkhäuser, 2000, 206p. コープヒンメルブラウの作品集． Shimizu, Misato; Hosoya, Makoto; Kono, Tomoko:Kanako, Endo, Ed., 2009, BAUHAUS: experience, dessau. Tokyo, The Sankei Shimbun, 765p. 東京藝術大学美術館におけるバウハウス展のカタログ．膨大な量の写真と説明．シュ タイナーについての直接の記述はない．

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Acknowledgments I would like to express my gratitude to my mother. She would tell me how great her college's library was. "I only needed to read through one side of the bookshelf to the other." What happened to me was fairly close to this experience. I only needed to read through one side of the bookshelf under her desk to the other. She was, eventually, a kind of specialist of Waldorf education. The Thesis revealed that my interest was still occupied by the toys I would love in my younger days. I thank my father for giving me the opportunity to experience Waldorf education. I must admit that my thoughts are rooted to his thoughts, and thus most part of my academic background consists of being his son. I thank Professor Darko Radovic for helping and guiding really strong through all the process of the Thesis. I thank Ph. D. Candidate Milica Muminovic for giving me useful advices how to focus. Thank you B3 students, Hoshikawa and Katoh for helping my diploma project (see pictures below) and encouraging me hesitating to do the project.

Contact: frail.aenima@gmail.com

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A. Appendix

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A.1 Ostheimer

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A.2 Camphill

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A.3 Schwarzwald

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A.4 No Brand (Christmas Set): Waldorf School of Penninsula

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A.5 No Brand (Gnome): Waldorf School of Penninsula

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A.7 Waldorf Figures

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A.8 Lyra, Stockmar

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A.9 Choroi

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A.10 Straw Plaiting

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A.11 Himmeli

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A.13 Playing Silk Clothes

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