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196 r View of the

196 r View of the shipyard, Venice s Worlds of Work as Memories, installation, 15th Architecture Biennale, Venice (2016)

POTENTIALS OF NEUROARCHITECTURE 197 Gestalt from an original story of creation, starting from the body of the individual and the image of the mother and then describing further circles. “The first kingdom of Gestalt has no space for the mother, because it requires none. Its works come directly from God. Her Gestalt has reached perfection at the moment when she is conceived. At the same moment she is also born. … However, the works of the second kingdom of Gestalt need a mother room as the workspace in which the organs of the creation are prepared, until he is complete enough to move alone outside the mother space.” 383 The workshop thus becomes the place of creation; the hand of God and the hand of the artisan are guided by similar spiritual powers in order to create a home in space for mankind. “The elements already bear male and female qualities within them.” 384 However, the forms that Häring developed into his main idea are realized only through interaction; for him, architecture is the frame for the task of educating man in the community: “The highest aim of the teaching plan of the educational work is the object. The instructions in the educational work apply to the essence of the object and to learning the techniques by which it can be realized in the mortal world.” 385 Nothing less than a metaphysics of craft that may be reminiscent of his father’s carpentry workshop is evoked here, in order to give people a grasp of the specific material. Almost imbued with Anthroposophical qualities, material that has been worked by hand seems to conceal spiritual powers. This is even more important because, with handmade objects, the trace of the human hand is immortalized in the material and revealed as a gesture of friendship whenever and however the object is used. “In everything that is taught, meaning that, in everything that should be improved for working towards the light, it is about the mystery of the object and the technical path that leads to its realization.” 386 According to Häring, generating structure and form fulfills the task of divine creation. “Working on an object is not an ingredient of life but the highest meaning of life, its true purpose.” 387 This brief utterance can hardly be valued too highly, as it draws attention to the idea that the human body is only defined in space as a physical environment that he has created. This is made clear by the reference to the vital significance of forming objects, which is placed at the center of human activity as “the highest meaning of life.” These creative powers bear within them the laws of Gestalt that, in the form of Theosophical powers in the effect of handcrafted objects, reveal a fullness of life in the landscape. Their energy flows into the piece of work. “It must also be the task of the mysterious powers of nature to develop powers in man that render him capable of creative activity.” 388 Release from the dictates of traditional basic forms can be seen when he turns to three-dimensional figures. “The doctrine of Gestalt in the new workrooms is no longer based on geometrical figures but on a principle of design: the principle of organic