Paul Schatz was born in Constance on Lake Constance on December 22nd, 1898. His early life was shaped by his comfortable, middle-class background – his father was a town councilor and owner of a small engineering works. The technological achievements of the new century, in particular those of aviation, were welcomed and encouraged everywhere with tremendous enthusiasm. In 1916, the second year of World War I, the gifted student was awarded the Count Zeppelin Prize, a scholarship granted for coming first in mathematics and the sciences. At age seventeen, he was sent to the Western front as a radio operator. After the war, he began to study mathematics, mechanical engineering, and philosophy at the Munich College of Technology. Shortly before he was to take his diploma, he changed over to astronomy instead. Disenchanted by the abstract approach to the sciences prevalent at that time, he discontinued his studies in 1922 and began training as an artist at the Warmbrunn School of Wood-Carving in the Riesengebirge.
Between 1924 and 1927, he worked as a sculptor and had his own studio on Lake Constance. At the same time, he also began to intensively study anthroposophy, which increasingly led him to search for the origins of his own art work in an attempt to find a way of thinking the clarity of which does not freeze art to death, and to become a truly creative artist out of a clearly perceived reason and not one shrouded in darkness and beyond human control. As a result of this discussion, he published his book – A Quest of Art Based on the Strength of Perception.
In 1927, he and his wife, Emmy Schatz-Witt, moved to Dornach (Switzerland), where the artist, inventor, and technician lived and worked until his death on March 7th, 1979.
Paul Schatz saw his developing of novel technical designs in the sense of the Greek word techno as a simultaneous practicing of art. His great ideal was to seek and realize a new technology suitable for man and in harmony with nature.
When he died in March 1979, Paul Schatz left a rich and striking oeuvre. His work was entirely dedicated to bridging the gap between the artistic and scientiﬁc activities of Man.
A large part of human suffering in the shape of war, destruction of the environment, and the social gradient within society is to be attributed to this chasm between the emotional and the cognitive-analytical abilities of Man. The biographical impulses of his life’s work are due to his experience as a young World War I volunteer at the Western front and as a student in the revolutionary Munich of the postwar years between 1918 and 1922. In the humanities approach of Rudolf Steiner he found, on the one hand, the tools of epistemological methodology and cognitive theory and, on the other one, the artistic approach this required.
His discovery of the laws of inversion within geometric bodies, in particular that of the cube, is an expression of the mental and spiritual revolution or inversion necessary to Man. Paul Schatz deﬁned the much admired objects and inventions as ‘‘waste products’’ of his spiritual-artistic vision. Indeed, the pedagogical value of the geometric models or the architecture to be developed from them can only be under-stood by considering this background. Without any training of one’s own imagination and mental capacity, not least supported and stimulated by the idea of inversion, progress in social life would be difficult to achieve.
One consequence of the inventor’s and discoverer’s activities is his many technical inventions. Novel clocks, ship’s engines, mixers and agitators, motors and other technical developments strive to develop a machine or engineering art taking into account the needs of the environment and Man.
Born in Constance in 1898, Paul Schatz moved to Dornach, Switzerland, in 1927, where he was to spend the main part of his productive life. A ﬁrst and important success of his technical invention was owed to Willy A. Bachofen AG, the Basel machine factory that sold thousands of his Turbula mixers for industrial and pharmaceutical applications all over the world over the years. Until this came about, there was a 20-year long battle against skepticism, criticism, and ignorance. The technical requirements to master mass forces and complex movements of the inversion kinematics resulting from the inversion of the cube were immense.
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