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ANNIKA WAENERBERG
ANNIKA WAENERBERG is Professor of Art History in the
Department of Arts and Culture Studies at the University of
JvyAskyl5, Finland. Her research and publications include the
subject of the organic and organicism inart and architecture.
In defining "the organic,"' most of us have in mind
something biologically living or forms taken from
Nature. It is, however, not enough to reduce the
concept of "organic" to life or to vivacity, even less so
to Nature or naturalness, even though these ideas
provide important attributes of the organic. Forms
with no geometry, symmetry, or regularity seem, at
least for most beholders nowadays, to be the organic
form per se. In spite of this, characterizations such as
"biomorph," "zoomorph," or "vegetal" are sometimes
understood as differentiations within the concept; at
other times such designations have been judged as
something in opposition to the very idea of the
organic. 2 How is it possible to define the concept
"organic" without losing oneself in self-evident or
superficial cliches?
Especially when examined throughout the period of
Modernism from the end of the nineteenth to the
beginning of the twentieth century, the breadth of
meaning within the organic concept is unexpectedly
wide. In the year 1908 Karl Scheffler commented on
the term organic, maintaining that while everybody
agreed on its principles, a contradiction immediately
arose when those principles were exemplified.3 This
contradiction and complication can be illustrated by
the examples of two German architects: Peter
Behrens's (1868-1940) Art Hall in Oldenburg from
1905 and Bruno Taut's (1880-1938) ground plan for
a house from 1920-1921. Both of these examples
were in their times spoken of as organic, even
though the two visual forms differ from each other
remarkably. The organic in those two examples is
manifested on the one hand in symmetrical
geometric and on the other in asymmetrical nonregular shapes.
FOUR WAYS OF UNDERSTANDING
THE ORGANIC ANALOGY AND
THE ORGANIC METAPHOR
The large variety of different visual features of the
organic makes it hard to form a defining concept.
Focusing on the discrepancies of the organic
variants around 1900, this article will argue that there
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evolution,
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