Metamorphosis of the Architectural Space of Goetheanum

Romana Kiuntsli,Justyna Sobczak-Piąstka,Andriy Stepanyuk,Iryna Besaha

doi:10.3390/app10144700

Abstract

In the beginning of the XX century, political, economic, and demographic revolutions contributed to the emergence of extraordinary people. In architecture, they were Frank Lloyd Wright, Antonio Gaudí, Frank Owen Gary, Le Corbusier, Hugo Hering, Alvar Aalto, Hans Sharun, Walter Burley Griffin, and Marion Mahony Griffin. Each of them was given a lot of attention in the media resources and their creativity was researched in different fields of knowledge. However, Rudolf Steiner’s work remains controversial to this day. Although many of the architects mentioned above enthusiastically commented on Steiner’s architectural works, there was always ambiguity in the perception of this mystic architect. Such a careful attitude to the work of the architect is due primarily to his worldview, his extraordinary approach to art and architecture in particular, because it is in architecture that Steiner was able to implement the basic tenets of anthroposophy, which he founded. The purpose of this study is to determine the content of the spatial structure of Steiner’s architecture, which makes it unique in the history of architectural heritage. The authors offer the scientific community the first article in a series of articles on the anthroposophical architecture of Rudolf Steiner and the philosophical concept that influenced the formation of this architecture.

Highlights

The beginning of the twentieth century was marked by emotional and intellectual conflicts that have become embodied in new artistic and literary trends and philosophical views
An important contribution to the study of contribution to the study of Steiner’s design work is the dissertation of Reinhold Johann Fet [13], and Steiner’s design work is the dissertation of Reinhold Johann Fet [13], and concerning the architecture concerning the architecture of Goetheanum, Fiona Gray [14], Marina Agranovskaya (Emmendingen) of Goetheanum, Fiona Gray [14], Marina Agranovskaya (Emmendingen) [15], and Latief Perotti [16]
One can say that Goetheanum of Rudolf Steiner is a continuation of the use of a new material, namely reinforced concrete, in construction, the use of which was invented in Europe by Auguste Perret

Summary

Introduction

The beginning of the twentieth century was marked by emotional and intellectual conflicts that have become embodied in new artistic and literary trends and philosophical views. Rudolf Steiner’s architectural creativity must be seen in close conjunction with his outlook. It is through the works of Steiner that one can often learn about the motives of his architectural decisions. An important contribution to the study of contribution to the study of Steiner’s design work is the dissertation of Reinhold Johann Fet [13], and Steiner’s design work is the dissertation of Reinhold Johann Fet [13], and concerning the architecture concerning the architecture of Goetheanum, Fiona Gray [14], Marina Agranovskaya (Emmendingen) of Goetheanum, Fiona Gray [14], Marina Agranovskaya (Emmendingen) [15], and Latief Perotti [16]. Which makes it unique in the history of architectural heritage

Main Materials

Munch and

Goetheanum

Conclusions