Treacherous Sacredness

Bour Chiang , Huang
First Year

we can see how this double arches function in this context . In other word . ( “ …being low enclosure carried lightly above the user . close-knit patterns of association “ ) Thirdly . she used the word ‘mat-building’ to categorised the phenomena by giving it specific spatial characters ‘frameless space’: In the article . which remains relatively neutral . bare-bones architecture distinguished by new pattern of social association . Secondly . on the other hand create more aperture within the journey . on the one hand create a sense of ‘lifting ‘ of the space . it keep pushing you to the deeper part of the building . Smithson argue that this quality is generated by the ‘loose-fit’ of the system . we may see this idea is implying the fact that the system is inherently responding the behaviour of the experiencer rather than merely formal concern . “ ) Thirdly. this give the space itself a sense of continuity and transparency . with a currant-bun consistency . It rendered the relationship between viewer . ( “ …being low enclosure carried lightly above the user . . but the fact that the ‘system’ itself inherently shape the potentiality to connect the building with its environment and social condition . “ ) Focusing on the system . Firstly . This is an austere .which amplified the idea of transition . I supposed this relationship is the exact reason to the idea of transition . mosque . “ Smithson. the lower arches are in a relatively intimate scale as human figure . its un-monumental character ( “ Where functions come to enrich the fabric and the individual gains new freedom of action through a new shuffled order . bazaars . it purely represented the Arabic sense of space . she took the mosque of cordoba as her model to articulate her interest .Field condition ‘ frameless space ’ “ In mat-building . the imposing of the second arches . which is the reflection of the intrinsic quality of Arabic city — interchangeability and partly inconsistency ( “ (Islamic city is)…broadcast of houses .which is basically the whole appearance of the building . which connect two sides in a relatively subtle way : it (system) on the one hand remind you the connection between your body inside and outside the building . In this sense. Alison Simthson suggested that the unique spatial order of the mosque of Cordoba is generated from three aspects . function and events configure space rather than architectural frame.on the other hand . which act as the main topic in her career . its transitional quality ( “…full of stops and starts and shadow-particularly at the point of entry—with a high degree of connectedness to allow for change of mind and the in-road of time…”) For this point . social association. She argue that the way the mosque connect to its social context no only lies in its literal boundary . Firstly . “ ) Secondly .A In Alison Smithson’s article “ How to recognise and read mat-building “ . the closest frame around them and the more arches behind it . while the interior artefact (arches) shelter the viewer in a similar and proximate scale as people perceived on the street . based on interconnection . which also is the key reason to the idea of un-monumentality . the height of the double arches is close to the height of the exterior wall .

maybe we can argue that the reason to the fact that the mosque of Cordoba can maintain its integrity throughout different phrase of modification is because the matrix itself intrinsically involving the pure sense of time embedded within their culture . but the conscious outcome and the origin of the true prototype of the mosque which deeply embedded with Islamic culture and essential relationship between the sacred and the profane . but temporarily shelter from the profane world by ‘surrounding’ them with the atmosphere .a sense in-between directional and indirection .the one is fact that the mosque of Cordoba is the architectural combination throughout various century governed by similar spatial matrix . in this context. some extension part was for practical purpose . the overlapping over the directionality and the sense of extension create the sense of porous disorientation . On this point . One of the main spatial character of the mosque is its horizontal orientation . when the linear understanding of time came into the spiral understanding of time . Others conflate the domestic and the sacred as a means to lend cultural and historical authority to the sacred setting .
 . Through the sense of time and space (lingering) .they are actually moves between different part of the history of the building . the fact that a Christian church intervening a mosque. as people moves within the building . the idea of the space and time can be read in different dimension . as in the cultural and political functions of the Greek Prytaneion . Given these idea . minarets .while each part was partially dedicate to their own condition at the time . to connect humans with the god or understanding they sought . (e.some was for political purpose ) Secondly . the scenario that people can find a clear orientation in the field but lingering and floating within the forest of column . can be not only read as the intersection of two historical context .which is the ‘Spiral time ‘ . domes … ) . “ Barrie. but instead the ‘original’ house of the Prophet in Medina served as the model for early mosques . of architecture and the domestic . All of which illustrate .Interrelationship between space and culture “ Islam do not describe how god is to be housed .is actually the pure reinterpretation of the understanding of time in the Islamic tradition. which should facing the direction the Mecca . in the case of the mosque of Cordoba . In this sense . While most of the architectural legacy in Arabic cultural are based on some material token (e. Interestingly. but also the interplay between two understanding of space and time : when the upward orientation to the God came into the horizontal extension to the divinity and universe . which suggest that the role of the mosque is not for leading people getting closer to the heaven . we still can see how the ‘ system ‘ related the space to the cultural context .cross-cultural beliefs in the capacity ( or promise ) .g. maybe we can argue that the mosque of Cordoba is not a treacherous case from the legacy .T Although the extension of the project did not follow the architectural legacy in Islamic culture . the viewer will find their own way to connect their ‘microcosm’ (body) to the ‘macrocosm’ (Allah) .g. in a variety of ways . However .

we can see . tried to clarify Smithson’s idea to reexamine the linkage between urbanism and systematic relationship in his article “ Mat Urbanism: Th Thick 2-D “ . In this way .expect the first phase of the mosque . which is just the reason to the un-monumental essence and the transitional loose-fit fabric of the space . while each small parts .it did not follow the convention of keeping specific orientation . political . The idea of ‘ field ‘ was mentioned in both article . maybe we can see the extension of the project as a gradual approach from a enclosed sacred world to a more open . The term inherently implying something expandable that can exceed its physical boundary or at least something invisible that shape its environment . The columns are located at the intersection of these two vectors .by adding various new entrance on the new wall and the new gap between old and new . in other words .
 . practical…) . I guess such approach is not a usual case in this context . Stan Allen suggest that the unique spatial order in the mosque of Cordoba is based on the way different parts related themselves together . Secondly . Complex parallax effects are generated as the viewer moves throughout the field . so that once within the precinct of the mosque . since every extension was indeed making the whole project more ‘ porous ‘ .but follow its own tradition . Firstly . interconnection and growing potentiality .facing its specific condition (which is functionality in Smithson’s context ) and fit to each other at certain context.theres is no arbitrary order imposing the hierarchy within the system . The axial . a serial order of ‘ one thing after another’ . Furthermore . In the mosque of Cordoba . throughout the time. the traditional approach which basically focus on how to build a overall framework .though different extension may resulted by various issue (e.In this idea . the relationship between building and the street surrounding it is still in the same gesture .g.the rest of the extension all respond to its peripheral environment in two aspect .there is no single entrance.which means the project itself is never a self-contained entity . In this article .Stan Allen.directional space. in the following extension. a field-like expanding . I suppose we should see the mosque of Cordoba as an (never) unfinished statement . As diagram shows .which followed the Arabic legacy . and then gradually scale down to focus on specific architectural issue (from whole to part ) . (to shape a recognisable entity ) . but simply apply the same matrix which keep the whole building in the gentle scale as its neighbourhood . forming an undifferentiated but highly charged field . american architects. is another interesting stance helping us understand the unique spatial quality of the project .since it always refers to how people experience it individually rather than how building sit in the area solely . The entire west wall was open to the courtyard . which basically relied on the power of the part-to-part condition . I suppose . processional space of the Christian church gives way to a non. since in order to keep the integrity either ideologically or architecturally . And this kind of gradual changing of the gesture .Part to Part Condition “ The directionality of the arched walls operates in counterpoint to the framed vistas across the grain of the space .S Inspiring by Smithson’s idea of association. welcoming gesture of the profane world .” Allen. it did not recenter the new extension in order to manifest old and new . we can evaluate this concept by watching the way it growing throughout the time .

Figure 1 : Frameless space

Figure 2 : Between space and culture 

Figure 3 : Par to part condition 

Bibliography : Allen . From Within: On the Spiritual in Art and Architecture . p118-143 Ardalan . S (1997) .ASHGATE p221 -234 Barrie. Essay from “Space Reader” .Sarkis. Septienbre .WILEY . A (1974) Mat Building How to Recognise and Read It . N . Hashim.T (2016) . S (2002) . From Object to Field : Field Condition in Architecture and Urbanism . Allen . A Home in the World : The Ontological Significance of Home ASHGATE . Mat Urbanism: The Thick 2-D . Architectural Design. p103 Smithson.

Appendix : (the process of drawing ) 


AA dip9 .”image reference” Collage by Maridia Kafetzopoulou .2016 .