This thesis presents "Eurythmy as visible speech", the art of movement which was developed by Rudolf Steiner (1863-1925), as a tool which can enable architects to recognize and create architectural forms from the sources of all possible forms: formative forces that can be found in speech sounds, consonants and vowels of human languages.
In 1912 R. Steiner began to develop the art of Eurythmy from its original ancient Grecian roots of movement in space. Simultaneously and related to Eurythmy, R. Steiner created the first Goetheanum, a building for talks and presentations of performing arts. This building burnt down in 1921. A year later he modelled the forms of a second Goetheanum.
The relation of R. Steiner's artistic intention to artists and thinkers, is looked up through the development of observation. Among the examples of the modern movement is analysed the observation based in poetry of the group of architects "Amereida", Chile.
Observation is fundamental in the artistic process, today is recognized as a common patrimony. Considering Eurythmy as a tool for observation and creation, the formal expression of the gestures of speech appears. Therefore time is introduced into space, process is introduced, the becoming of forms, the moving form of the speech sounds through the human body become architectural forms. To make this visually understandable, buildings are analysed from the point of view Resume of the thesis: "Towards a spiritualization of matter through architecture" This thesis presents "Eurythmy as visible speech", the art of movement which was developed by Rudolf Steiner (1863-1925), as a tool which can enable architects to recognize and create architectural forms from the sources of all possible forms: formative forces that can be found in speech sounds, consonants and vowels of human languages.
In 1912 R. Steiner began to develop the art of Eurythmy from its original ancient Grecian roots of movement in space. Simultaneously and related to Eurythmy, R. Steiner created the first Goetheanum, a building for talks and presentations of performing arts. This building burnt down in 1921. A year later he modelled the forms of a second Goetheanum.
The relation of R. Steiner's artistic intention to artists and thinkers, is looked up through the development of observation. Among the examples of the modern movement is analysed the observation based in poetry of the group of architects "Amereida", Chile.
Observation is fundamental in the artistic process, today is recognized as a common patrimony. Considering Eurythmy as a tool for observation and creation, the formal expression of the gestures of speech appears. Therefore time is introduced into space, process is introduced, the becoming of forms, the moving form of the speech sounds through the human body become architectural forms. To make this visually understandable, buildings are analysed from the point of view of the sounds of speech.
The form tendencies that can be observed in Eurythmy and architecture can also be found in forms of sculpture, painting, scientific experiment with substances in movement, as well as in manifestations of nature: in water, minerals, plants, clouds, animals, man, etc. which are illustrated with examples; for instance the archetypal form of the sound K can be seen in the crystallization of certain minerals, etc.
The possibility of observation and creation out of what is process, is related to capacities that the artist himself can develop. In this sense the basis of Eurythmy is also the basis of Anthroposophy, which is a modern way of opening and expanding human capacities for perception and creation, based on R. Steiner's discovery of the Goetheanistic observation which asks the observer to be able to unite his own life forces with the observed object, to become one with the observed object, in order to be able to experience and recognize the forces from which it has been formed.
R. Steiner developed the movements and gestures of Eurythmy from the observation of speech process, Goethe create his theory on the metamorphosis of the plant, and his Faust observing processes.
This way of observation is vital for a modern experience of the world, includes the time and the invisible life sources from which all things become visible. Goethe observes the spirit concretely in what he has in front. This is new: the spirit is no more a matter of faith, abstract and far away but something concrete. After have described the formal tendencies of the sounds of speech according to the results from R. Steiner's research, are presented models as possible formal results of this specific dialog between word and form.
The application of Eurythmy as a tool in architecture is an expansion of consciousness in the realm of the perception of form, and its possible effects on the development of the human beings that produce and live it.