{"corpus":"steiner","locus":"GA 288/1920-04-05/p007","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"If you want to understand our building, you also have to bear in mind that the entire treatment is appropriately designed for the new architectural style in terms of character. It is the case, for example, that even the artistic treatment of the wall is different from the way walls were treated in earlier architectural styles: the wall was always conceived as the boundary of the space that one wanted to close off. Here at the Goetheanum, the wall is conceived in such a way that it actually overcomes itself. This is physically achieved in our windows. Our windows, in so far as they are the main windows of the auditorium, are etched out of single-colored glass panes. It is then the case that the artistic works are actually only created by the sunlight shining through. So the processing of the window panes is a preparation, and the whole impression is created by the interrelationship between what has been worked on the pane and the sunlight shining through. In the windows, in particular, what has otherwise been striven for in the entire building has been physically achieved, whether through the design of the columns, the carving on the walls, or the painting: the wall virtually dissolves. So that when you look at the wall, you don't have the feeling that the space is closed off, but that you have the feeling that you are being led out into the cosmos through the wall. With the windows, you must have this feeling physically, because you lead directly, I would say, to the effect of light on the outside, purely through the physical design of the panes; but with the other wall designs, this has also been attempted artistically.","text_trust":"verbatim","quote_safe":true,"title":"IV. The Symbolism of the Building at Dornach II","site_heading":null,"date":"1920-04-05","location":null,"word_count":287,"url":"https://anthroposophy.ai/v1/steiner/en/ga/288/1920-04-05/p007","alignment_confidence":"high","alignment_reason":"beads:identity","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Architecture, Sculpture and Painting of the First Goetheanum","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA288/English/SOL2024/19200405p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"edition_coverage":{"de":["original"],"en":["English"]},"available_versions":[{"lang":"de","edition":"original","edition_basis":null,"is_original":true,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/de/ga/288/1920-04-05/p007"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/288/1920-04-05/p007","paragraph_aligned":true}],"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.","evidence":null,"evidence_translation":null,"evidence_source":null},"paired_german":{"status":"paired","german":[{"locus":"GA 288/1920-04-05/p007","passage_number":7,"text":"Wenn man unseren Bau verstehen will, so muss man auch darauf Rücksicht nehmen, dass die ganze Behandlung dem im Charakter neuen Baustil angemessen gestaltet ist. Es ist so, dass zum Beispiel selbst die Wandgestaltung künstlerisch eine andere ist als die Wandgestaltung bei früheren Baustilen: Es ist die Wand eigentlich immer so aufgefasst worden, dass sie als Grenze des Raumes, den man abschließen wollte, aufgefasst wurde. Bei uns hier am Goetheanum ist die Wand so aufgefasst, dass sie eigentlich sich selber überwindet. Das ist physisch erreicht bei unseren Fenstern. Unsere Fenster sind, insofern sie die Hauptfenster des Zuschauerraumes sind, aus einfarbigen Glasscheiben herausradiert. Es ist dann so, dass die künstlerischen Werke eigentlich erst dadurch zustande kommen, dass das Sonnenlicht durchscheint. Es ist also die Bearbeitung der Fensterscheiben eine Vorbereitung, und der ganze Eindruck wird durch das Wechselverhältnis desjenigen, was an der Scheibe gearbeitet wurde, mit dem durchscheinenden Sonnenlichte erzeugt. Da ist gerade bei den Fenstern physisch dasjenige erreicht, was sonst angestrebt worden ist im ganzen Bau, sei es durch die Säulengestaltung, sei es durch die sonstige Wandschnitzerei, sei es durch die Malerei, dass die Wand gewissermaßen sich selber aufhebt. Sodass man, wenn man an die Wand hinschaut, nicht das Gefühl hat, der Raum ist abgeschlossen, sondern dass man das Gefühl hat: Durch die Wand hindurch wird man in den Kosmos hinausgeführt. Bei den Fenstern müssen Sie ja dieses Gefühl physisch haben, weil Sie unmittelbar, ich möchte sagen, zur Lichtwirkung nach außen führen, rein durch die physische Gestaltung der Scheiben; aber bei den übrigen Wandgestaltungen ist das auch künstlerisch versucht worden.","text_trust":"verbatim","quote_safe":true,"word_count":259,"url":"https://anthroposophy.ai/v1/steiner/de/ga/288/1920-04-05/p007"}],"english":["GA 288/1920-04-05/p007"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":259,"en_words":287,"ratio":1.11,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"]},"witness_completeness":{"ratio":1.04,"band":"comparable","note":null,"word_count":6652,"original_word_count":6409,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Architecture, Sculpture and Painting of the First Goetheanum","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA288/English/SOL2024/19200405p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 288/1920-04-05/p007"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. 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