THE INFLUENCE OF STEINER’S ARCHITECTURE ON HIS STUDENTS AND SYMPATHIZERS. IMRE MAKOVECZ

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Visnyk LNAU: Architecture and Farm Building 2021 №22: 86-95

THE INFLUENCE OF STEINER’S ARCHITECTURE ON HIS STUDENTS AND SYMPATHIZERS. IMRE MAKOVECZ

R. Kuenzli, Doctor of Art Criticism
ORCID ID: 0000-0001-5234-4903
А. Stepaniuk, Candidate of Architectural Sciences
ORCID ID: 0000-0001-5030-5724
Lviv National Agrarian University
І. Besaha, PhD student
ORCID ID: 0000-0002-2736-4985
Lviv State University of Internal Affairs

https://doi.org/10.31734/architecture2021.22.086

Annotation

Rudolf Steiner – the founder of anthroposophical architecture, lived and worked in the same period with Louis Henry Sullivan, Frank Lloyd Wright, Le Corbusier, Alvaro Aalto, Antonio Gaudi.

Focusing on Steiner's contemporaries, many critics consider his architecture to be organic. This idea of Steiner's architecture arose, apparently, in connection with his unique vision of architectural and spatial solutions, which are to some extent similar to the style of the founders of organic architecture. However, researchers have overlooked the symbolism of the complex of anthroposophical architecture in Dornach, which is fundamental and decisive in its three-dimensional design.

Taking into account the uniqueness of Steiner's architecture and the ambiguity of the interpretation of his work, the question arises: which of the modern architects to consider his follower. After all, today there are more than 1,000 Waldorf schools in the world, a large number of sacred and public buildings, residential buildings, which are considered anthroposophical.

There is no doubt that architects who met and studied Steiner's architectural works could not help but admire them. The architecture of Steiner's buildings, especially the Goetheanum, cannot be grasped and known by a single contemplation, it is filled with so much information that must be perceived gradually, spiritually and intellectually improving. To design in the style of Steiner's anthroposophical architecture means to perfectly study and follow his principles, his ideas and to support them.

The work of the Hungarian architect Imre Makovecz is considered in the context of organic architecture and the influence of Steiner. Neither the first nor the second opinion is conclusively convincing and reasoned. The inclusion of I. Makovecz among Steiner's followers by the researcher Anna Sokolina in the work «Architecture and Anthroposophy» is a debatable issue.

The originality and plasticity of I. Makovecz's architecture, the use of ecologically clean materials do not indicate organicity, let alone its anthroposophical orientation. I. Makovecz's architecture is deeply national, focused on the demonstration of the ethnic roots of Hungarians by means of architectural language. What Makovecz really took from Steiner is expressiveness, spectacle, embarrassment, and, accordingly, the association of architecture with the author's personality and worldview. Since we call Steiner's architecture anthroposophical, or Steiner's, so Imre Makovecz's architecture is deeply individual, ethnic-national, perhaps territorial-regional.

If we talk about the symbolism that is used in both architects, it is different. Steiner's symbols are tied to the spiritual evolution of man, they make you think, make analogies. Steiner's symbols are hidden, but they are everywhere: in the planning of the site, in the laying of the foundation, in the three-dimensional solution, in the details of the interior, and so on. The symbolism of I. Makovecz is demonstrative, expressive (tent, wings of an eagle or a falcon, helmets, shamanic elements), it unambiguously demonstrates the national roots and the main ethnic identifiers of Hungarians. If Steiner's main in architecture is the visualization of anthroposophical science, then Imre Makovecz demonstrates the national face of the Hungarians.

Key words

R. Steiner, I. Makovecz, architecture, anthroposophy, traditions

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