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Journal articles on the topic 'Modern sacred architecture'
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Suharjanto, Gatot. "Konsep Arsitektur Tradisional Sunda Masa Lalu dan Masa Kini." ComTech: Computer, Mathematics and Engineering Applications 5, no. 1 (2014): 505. http://dx.doi.org/10.21512/comtech.v5i1.2644.
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It is known that traditional architectures are a product of human conception full of culture and philosophy, while modern architectural concepts prioritize functionality and simplicity that tends to be simple or quick. Now the architectural concept slowly changes according to the conditions of time, then so is the existence of works of architecture that also changes. This condition can be found in almost major cities in Indonesia, where many houses or buildings built still in traditional architecture theme but combined and matched with modern architecture concept. One of many diverse cultures of Indonesia archipelago architecture that has evolved is West Java. There are a lot of people trying to apply the concept of Sundanese traditional house in their residence. Shifting sacred values in traditional concept seems indeed to be lost along with the differences in modern human civilization.
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O, Dyachok. "SACRED IMAGE OF TERNOPIL REGION." Architectural Studies 7, no. 1 (2021): 9–16. http://dx.doi.org/10.23939/as2021.01.009.
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The article highlights the stages of formation of the architecture of temple complexes in the Ternopil region, which today form the sacred image of the region. The set of sources used in the study has different origins, gives researchers information for analysis of sacred architecture in the modern Ternopil region, which can be used in further research. The source base of the study are churches of different denominations - Orthodox, Catholic, Greek Catholic, Jewish, Armenian, as well as the remains of pre-Christian complexes. Such ethnic and confessional heterogeneity, complex socio-political processes on the territory of the region have given rise to a typological diversity of temples, which differ in style, dimensional solution, decoration. The analysis of sacred complexes was carried out by the method of field surveys, historical and comparative analysis and was based on reliable archival sources, data from research institutions, reserves and publications of leading scientists. European periodisation system was used in the analysis of the formation stages of sacred architecture: the Middle Ages, Renaissance, Reformation, Enlightenment, the period of XIX-XX centuries and the modern period. Each stage is marked by the appearance of majestic temples, which are bright dominants in the architectural space of settlements and creating a unique sacred image of the Ternopil region. It is shown that there are almost no sacred objects of the early medieval period left in the study area, except for mounds and cave temples. The High Middle Ages are represented by single temples. The Renaissance period declares the adoption of Western European construction technology. Temples have a pronounced defence function. The Ternopil region is most vividly represented by the Baroque temples of the Enlightenment. The period of the XIX-XX centuries. marked by the search for a national style in sacred architecture. Modern temple complexes are built according to the traditional planning system, but some have modern forms.
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Crosbie, Michael J. "Defining the Sacred." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 352–67. http://dx.doi.org/10.17979/aarc.2017.5.0.5163.
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How do we define what is sacred architecture? People of all ages are turning away from organized religion, and looking for a more genuine, personal experience of the spiritual. In considering sacred architecture, a distinction is whether architecture itself is sacred or that architecture is an instrument that calls forth the sacred. Distinctions should be drawn between situational versus substantive sacred space. A divine presence is believed to reside in substantive sacred space. In situational, anyplace can be sacred depending on the presence, location, and actions of human beings, often acting in community.Edward Anders Sovik was one of the most influential architects in the design of modern churches in the US. Active from the mid-20th-century through the 1970s, Sovik designed mostly Protestant churches and wrote extensively about church design and its liturgical underpinnings. Sovik believed that early Christians perceived themselves as a community of faith unattached to any place. His skepticism about the sacredness of buildings and objects sits squarely within Protestant theology. His religious architecture offers a good model for today, as the definition of sacred architecture is changing. Sovik’s emphasis on the secular and the sacred is prescient regarding the current state of religion and spirituality, and became the basis of a recent graduate design studio at Catholic University of America.
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Costanzo, Francesco, and Gaspare Oliva. "The Sacred Freespace." Resourceedings 2, no. 3 (2020): 202. http://dx.doi.org/10.21625/resourceedings.v2i3.733.
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Keeping in the background the search for geometric-mathematical exactness, that in different cultures oversees the construction of sacred building and starting from the need to isolate it in order to make its "true form" recognizable, this paper analyzes features and conditions of the spaces of the city where different isolated and formally defined religious buildings coexist, as happens, for example, in Italian squares characterized by opposition between Cathedral and Baptistery. The Campo dei Miracoli in Pisa is assumed as a paradigm of in-between consecrated space in which several isolated buildings determine a tensional space and define a unique and unrepeatable configuration individuated among the multiple possible combinations of positions and architectural figures that is, according to Leibniz, expression of the idea of infinity. This kind of space looks for exactness not through closed forms but through relationships, positions and alignments of standing buildings and its rarefaction is directly connected with the idea of open city dispersed in nature proposed by modern architecture.
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Gonçalves, José Fernando. "Sacred Spaces." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 220–29. http://dx.doi.org/10.17979/aarc.2017.5.0.5153.
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The passage from sacred to secular space confers on religious space a wider functionality that will allow the incorporation of an abstract and open spatial symbolism to different perceptions of the divine to see, feel or invoke God. According to Rudolf Otto, on the Protestant churches the architectonic expression of the numinous is made by three fundamental elements of representation: obscurity, silence and emptiness. As elements that conceptually oppose the concrete or definitive symbol, they acquire a universal meaning that modern architecture itself will incorporate as a process of artistic emancipation.For a contemporary architect to design a religious space thus imposes an inevitable incursion into this Protestant matrix that appeals to the simplicity of forms, to the fidelity of construction and to the aesthetic experience as access to the transcendent. The mortuary chapels I am presenting takes up this contact with the modern constructive knowledge and with the return to the essential sacred place made of space, light and matter.
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Kursova, Marina, and Evgeniya Repina. "CATEGORY OF EMPTINESS IN THE WORLD ARCHITECTURE: JAPAN, WEST, RUSSIA." INNOVATIVE PROJECT 4, no. 10 (2019): 20–25. http://dx.doi.org/10.17673/ip.2019.4.10.2.
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The article analyzes the philosophical and psychological meaning of the category of emptiness and its reflection in art and architecture. The sacred meaning of emptiness in Zen Buddhism and its influence on Japanese architecture are considered. Differences in interpretations of the concept of “emptiness” in Eastern, Western and Russian philosophy and architecture are analyzed, it is highlighted how echoes of Zen teachings and the category of emptiness contributed to the emergence of the empty canon in the avant-garde. The devaluation of “emptiness” in the aesthetics of modernity and its transformation under the conditions of postmodernism are considered. In the course of analyzing the attitude of the modern generation to the categories of emptiness and space, the preconditions for the return of the attitude to emptiness and space as sacred categories of architectural culture are revealed.
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Vukoszávlyev, Zorán. "Dümmerling’s Guiding Manual for Transformation of Sacred Spaces." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 144–55. http://dx.doi.org/10.17979/aarc.2019.6.0.6235.
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The Sancrosanctum Concilium approaches the artistic aspects of architecture from the liturgy, while the Charter of Venice approaches the architectural space from the principles of heritage protection. Both emphasized simplicity, functionality and readability. The significance and the combined effect of the two documents in the practice of church construction in Eastern Europe can be considered significant, since the possibility of redesigning the liturgical space arose mainly in the context of the renovation of historic buildings in the atheist political environment. The proof of this statement is presented in the manuscript of the architect Ödön Dümmerling. The architect - a practitioner of monument restorations and an admirer of the spirit of modern architecture - was called upon to draw up design guide after the Second Vatican Council was closed, making recommendations for new equipment for liturgical spaces.
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Merzhievskaya, Natalia, and Evgen Dunaevskiy. "ARCHITECTURAL-SPATIA PRINCIPLES OF FORMATION OF THE STRUCTURE OF MODERN CULT BUILDINGS OF CHRISTIAN CONFESSIONS IN UKRAINE." Current problems of architecture and urban planning, no. 59 (March 1, 2021): 28–51. http://dx.doi.org/10.32347/2077-3455.2021.59.28-51.
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The article «Architectural-spatial principles of formation of the structure of modern cult buildings of Christian confessions in Ukraine» acquaints the readers with the percentage of different denominations in Ukraine. The paper reports on the coexistence of different religious denominations in Ukraine, a table with sacred architecture in different areas is given, as it is an important component of national minorities living in our country. The architectural and spatial organization of sacred buildings on the territory of Ukraine is analyzed. The purpose of the study is to identify and analyze the formation of evaluation criteria, sacred buildings of Christian denominations in Ukraine. The main research methods in the article are general scientific methods, which include: review of the literature, study of analogues; theoretical methods: analysis and synthesis, analogy and comparison; empirical methods: description, observation, perception, images. The objects are a selection of the twenty most successful buildings during the period of independence of Ukraine of each denominational unit of Christianity in the country. Discovery the relevance of the study and the basic principles of formation and development of the category of assessment of buildings of Christian denominations. Discovery the basic principles of formation of architectural and spatial structure and development of the category of assessment of buildings of Christian denominations. The analysis of modern Ukrainian church building and the search for ways of its further development in the theory of architecture is carried out mainly from internally Christian positions without taking into account the current theories of development of post-Soviet Orthodoxy. This leads to a biased and religiously involved consideration of a number of aspects of Christian architecture, in particular the Orthodox denomination of Ukraine in the late XX - early XXI century, patterns and principles of development of which cannot be determined, being within the model of post-Soviet Orthodoxy. The paper is supplied with diagrams, tables, figures.
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Lake, Reginaldo Christophori. "SIMBOL DAN ORNAMEN-SIMBOLIS PADA ARSITEKTUR GEREJA KATOLIK REGINA CAELI DI PERUMAHAN PANTAI INDAH KAPUK-JAKARTA." Idealog: Ide dan Dialog Desain Indonesia 4, no. 1 (2019): 23. http://dx.doi.org/10.25124/idealog.v4i1.1932.
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The Catholic Church building always displays symbols and ornaments as an expression of religious (sacred) faith and atmosphere. Symbols in the form of two-dimensional and three-dimensional objects arranged and beautified the church as well as religious significance. Symbols and ornaments are placed inside the church (interior) and outside the church (exterior), function to support the atmosphere of the church visually and help appreciate aesthetic, psychological and religious faith. Regina Caeli Catholic Church in Pantai Indah Kapuk Jakarta is a Catholic church that is characterized by modern architecture and features symbols and ornaments on the interior and exterior of the church. This paper describes the existence of symbols and ornaments -symbols in the church associated with obedience to the principles of modern architecture that underlies the design of the church. The research problem is how the existence of symbolic symbols and ornaments in the Regina Caeli Catholic Church, which are modern-minimalist architecture? The study was carried out by analyzing secondary data (photos and texts) and literature studies, then compared with the basic guidelines of Catholic church architecture and the principles of modern architecture. As a result, Regina Caeli's Catholic Church architecture is a modern architecture with a modern-minimalist expression. The existence of a symbol of the cross marks the existence of a Catholic church visually, the interior ornaments strengthen the uniqueness as a sacred (religious) space. The Regina Caeli Catholic Church has a modern architecture and provides a place for symbolic symbols and ornaments; there is a mixture of modern architecture with church symbolism as a relogious building.
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Djordjevic, Zorana, Kristina Penezic, and Stefan Dimitrijevic. "Acoustic vessels as an expression of medieval music tradition in Serbian sacred architecture." Muzikologija, no. 22 (2017): 105–32. http://dx.doi.org/10.2298/muz1722105d.
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Archaeoacoustics is a multidisciplinary field of research focused on the history of the relatedness of the field of sound and architecture. The architectural history of Europe, from Antiquity to the modern period, is abundant in the findings of vessels, which are considered to have an acoustic purpose. This paper addresses these acoustic vessels embedded in the massive walls of sacred architecture in medieval Serbia (15 churches). We considered the wide context of current archaeoacoustic research, in order to argue that this practice can be regarded as an expression of a certain medieval musical tradition.
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Fawaid, Achmad, Zamroni Zamroni, and Hasan Baharun. "Contesting Sacred Architecture: Politics of ‘Nation-State’ in the Battles of Mosques in Java." QIJIS (Qudus International Journal of Islamic Studies) 7, no. 1 (2019): 129. http://dx.doi.org/10.21043/qijis.v7i1.4365.
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<p><em>This study </em><em>aims to </em><em>figure out a ‘political’ contestation of sacred mosques in Java and the ways the Javanese respond to the global architecture of the Middle Eastern Islam. By </em><em>using </em><em>a </em><em>historical narrative method, this article describes</em><em> a fact that some ‘sacred’ architectures which shaped from the national mosques became a site of battles between the modern Islamic and traditional Javanese worldviews</em><em> and</em><em> explores the continuum debate over architecture, culture, and power of Islam in Java through various events since the fifteenth until today. This study, finally, </em><em>results in</em><em> the issues related to not merely the almost unsolved dispute over modern and traditional architectures, between pan-Islamic modernists and Javanese traditionalists, but most importantly, the past stories and silent ideology behind the building of these mosques, and by doing so, it also questions our primordial understanding of nation-state. </em></p>
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Ali Salih Al-Juboori, Udai. "Natural Light Styles Utilazationinthe Interior Architecture Of The Modern Sacred Buildings." AL-Rafdain Engineering Journal (AREJ) 22, no. 4 (2014): 164–83. http://dx.doi.org/10.33899/rengj.2014.101533.
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Duvernoy, Sylvie. "Baroque Oval Churches: Innovative Geometrical Patterns in Early Modern Sacred Architecture." Nexus Network Journal 17, no. 2 (2015): 425–56. http://dx.doi.org/10.1007/s00004-015-0252-x.
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Sinha, Ajay J. "Architectural Invention in Sacred Structures: The Case of Vesara Temples of Southern India." Journal of the Society of Architectural Historians 55, no. 4 (1996): 382–99. http://dx.doi.org/10.2307/991180.
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The article explores the nature of architectural invention in Indian sacred structures by analyzing a group of eleventh-century sandstone temples in the Karnataka region of southern India. Identifying a variety of experiments in a closely related group, it refutes a commonly held scholarly assumption that Indian temples follow architectural norms ordained by India's religious traditions-an assumption fed by Western definitions of individuality and originality. These Karnataka temples demonstrate that their architects-while mostly unknown-fundamentally changed the formal as well as the conceptual basis of southern architecture they had inherited. Their formal choices, manipulating regional conventions as well as opening up their structures to include references from other regions, led to a new, consciously modern form of architecture whose modernity has been overlooked by scholars. Scholars have tended to call this new regional invention Vesara (Sanskrit "mule" or "hybrid"), defining it as a derivative style of temple created by mixing typical features of North Indian and South Indian architecture. The article traces the emergence of Vesara's conceptual logic in the eleventh century through architectural anomalies and daringly unprecedented play with the formal means of regional architecture, arguing that the makers of these temples exercised a level of inventiveness we have not been willing to credit them with so far.
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Hatta, Juparno. "KONSTRUKSI MITOS ILUMINATI PADA MASJID AL-SAFAR (Analisis Semiotika Roland Barthes)." Jurnal Sosiologi Agama 13, no. 2 (2019): 67. http://dx.doi.org/10.14421/jsa.2019.132-04.
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Secara umum, struktur arsitektur masjid tidak memperlihatkan keseragaman. Nilai lokalitas atau kedaerahan dan pra-islam memberi pengaruh pada beberapa arsitektur masjid tua di Indonesia. Dewasa ini, arsitektur masjid lebih berkembang dengan pola desain yang lebih modern dan unik, sepeti masjid al-Safar. Arsitekturnya yang menyerupai segitiga sebagai konsekuensi desainya yang mengadopsi konsep folding. Tuduhan atau tafsiran arsitektur masjid al-Safar yang tidak islami karena menyerupai objek sakral dari umat Yahadi, yaitu iluminati atau segitiga adalah mitos. Dalam sejarah manusia, benda fisik yang bermakna simbolis atau Yang Sakral dipengaruhi pengalaman hidup atau realitas subyektif manusia. Dua objek simbolis ini, memiliki sejarahnya masing-masing dan diference.Kata Kunci: Aristektur masjid, Masjid Al-Safar, Mitos, SimbolisGenerally, the mosque’s architectural structure does not show uniformity. The locality or provincial and pre-Islamic value gave architecture influence to some ancient mosques in Indonesia. Recently, the mosque’s architecture is well-developed with modern and unique design pattern, such as Al-Safar mosque. Its architecture resembled triangle as its adopted design by folded concept. Accusation or interpretation of Al-Safar mosque which doesn’t represent Islam, whereas its represent the sacred object of Jewish adherent, which is illuminati or triangle is a myth. In human history, this physical object symbolically related or the Most Sacred affected by life experience or subjective human reality. These two symbols, have their own differences and history.Keywords: Mosque Architecture, Al-Safar Mosque, Myth, Symbolic
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R., Frankiv, and Khadzhynov V. "NEW ROME, AS AN IDEAL HIERATOPY, IN THE GALICIAN SACRED ARCHITECTURE OF THE INDEPENDENCE AGE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (2020): 204–11. http://dx.doi.org/10.23939/sa2020.02.204.
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The aim of the article is to reveal the tendency to use images of the Constantinople capital's architecture in the projects of sacred buildings in Galicia at the beginning of the XXI century. Under the hieratopy of New Rome means the special status of Constantinople - the sacred center of the World Christian (Roman) State. After the fall of Constantinople, the image of New Rome became available for reproduction in previously remote corners of the Byzantine world, including in the construction of the identities of certain modern nations formed in the nineteenth century. It is underlined that the hieratopy of New Rome became an important part of Ukrainian identity searching within the sacred architecture of Galicia. It is determined that in varying degrees, it was characteristic of the search for a national manifestation both in the period of the turn of the XIX - XX centuries, and of the Independence period in the turn of the XX - XXI centuries. It is determined that for this last period, an important factor was the significant improvement of relations between the Western (Latin) and Eastern (Orthodox) churches, the rehabilitation of Eastern traditions in Roman Catholic discourse. Also the article shows examples of a number of buildings, which testify to different variants of architecture work of sacred buildings in Galicia (West Ukraine) with images of hieratopia of New Rome. Furthermore is given a ways in which it fits into the existing stereotypes of architectural manifestation of Ukrainian national identity and symbolism, as well as manifestations of Ukrainian national identity.
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Scheinhardt, Anne. "Music, Performance, Architecture. Sacred Spaces as Sound Spaces in the Early Modern Period." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 100, no. 1 (2020): 541–49. http://dx.doi.org/10.1515/qufiab-2020-0026.
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Far, Mozhgan, and Farid Forouzanfar. "Sacred Concepts of Traditional Residential Architecture and Its Revival in Iranian Modern Housing." Current World Environment 10, Special-Issue1 (2015): 168–76. http://dx.doi.org/10.12944/cwe.10.special-issue1.22.
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Shelkovaya, Natalya. "Sacred art as the highest manifestation of a person's spiritual worldview." Culturology Ideas, no. 20 (2'2021) (2021): 127–42. http://dx.doi.org/10.37627/2311-9489-20-2021-2.127-142.
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The article is devoted to the problem of the formation of a spiritual worldview, the spiritualization of a person, a meeting with the sacred world, God, which is very relevant in the modern technogenic world, through communication with the sacred art, which has its own symbolic language, its own characteristic for each religion, signs that are important for a person as a spiritual, in its main essence, being. The author reveals the nature of sacred art, compares attitudes towards it in the Middle Ages and in our time, reveals the deep symbols of sacred architecture and painting in Christianity, sacred architecture in Islam, and painting in Chan Buddhism. A comparative analysis of the symbols of the sacred art of these religions showed the profound unity of their main ideas: the idea of creating the world in the Void (Creatio ex Nihilo), the idea of the creation of the world by Light, the idea of the manifestation of the Word of God in Christianity and Islam; revealed the common goal of the sacred art of these religions — unity with God, the spiritual world, nature by getting rid of their egoistic subjectivity; discovered a similarity in the creative process of an icon painter in Christianity and an artist in Chan Buddhism and led to conclusions about the synonymy of the concepts of God in Christianity, Allah in Islam and Emptiness in Buddhism.
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Körösvölgyi, Zoltán. "The Sustainable Church: A New Way to Look at the Place of Worship." Periodica Polytechnica Architecture 48, no. 2 (2018): 93–100. http://dx.doi.org/10.3311/ppar.11574.
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 For centuries, the notions of sacred and development were closely related in European culture, both in the field of architecture, and, more broadly, in the arts. Sustainability, in this respect, mostly appeared in non-architectural terms. (The word “sustain” appears multiple times in the Bible, but mostly in relation to humans: me, you, him, them.) Beginning with the Enlightenment, a gap has developed between the two, which is still experienced, and which results in a general distrust, misinformation, and, accordingly, a fundamental misunderstanding between artists, architects and the church. Is the gap too wide to reconnect these two notions? The changes of the 20th and 21st Centuries, having affected and continuing to affect Europe, represent a valid need for the different congregations to rethink their role, and the role of their places of worship. This paper highlights some positive examples of modern and contemporary sacred architecture, designed to reflect an awareness of today’s issues — sustainability, attention to environmental and social issues.
 
 
 
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Rabiej, Jan. "Architecture against time – longevity vs temporariness." BUILDER 288, no. 7 (2021): 86–88. http://dx.doi.org/10.5604/01.3001.0014.9352.
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The subject of this article is the problem of the antinomy of longevity and temporality in architecture. Excluding the so-called temporary structures, man designs and creates buildings with the assumption of their longevity. This presupposition is not undermined by architectural concepts, exposing functional and spatial solutions, opened to potential flexibility – variability. Also, ultra-modern designs of "self-adapting" architecture to the changing conditions of the context assume, indeed, the extension of its "vitality" – longevity. The aim of the research synthesis presented in the article is to specify the criteria which in shaping architecture make it possible to overcome the tension inherent in the antinomy of longevity and temporality. These analyzes, summarized with conclusions, were carried out in two complementary approaches: theoretical: based on the characteristics of the relationship between architecture and time, with particular emphasis on their exposure in the Christian sacred architecture; practical: based on the case study of the sequence of transformations of the church of St. Joseph Worker in Bytom over a period of approximately 100 years.
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Trachtenberg, Marvin. "Architecture and Music Reunited: A New Reading of Dufay's Nuper Rosarum Flores and the Cathedral of Florence." Renaissance Quarterly 54, no. 3 (2001): 741–75. http://dx.doi.org/10.2307/1261923.
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The proportions of the voices are harmonies for the ears; those of the measurements are harmonies for the eyes. Such harmonies usually please very much, without anyone knowing why, excepting the student of the causality of things.—Palladio(1567)The chiasmatic themes of architecture as frozen music and music as singing the architecture of the world run as leitmotifs through the histories of philosophy, music, and architecture. Rarely, however, can historical intersections of these practices he identified. This study proposes a transient nexus of architecture, sacred music, and theology in early modern Florence.
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Diachok, Oksana. "ARCHITECTURE OF BASILIAN MONASTERIES IN THE PROCESS OF FORMING THE SACRED IMAGE OF THE CITIES OF TERNOPIL REGION." Current problems of architecture and urban planning, no. 60 (April 26, 2021): 12–22. http://dx.doi.org/10.32347/2077-3455.2021.60.12-22.
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The article highlights the peculiarities of the formation of the sacred image of the modern Ternopil region under the influence of the architecture of the Basilian monastery complexes. Active missionary activity of the Order led to the founding, construction and reconstruction of ancient monasteries, which today are the decoration of the settlements of the region. These architectural ensembles are expressive compositional dominants in the historical environment of cities.
 The most famous monastic complexes in Ternopil include the Holy Dormition Pochayiv Lavra, the main buildings of which were built in the union period, the Basilian Monastery in Buchach, the Uhornytsky (Pidhoryansky) Monastery, and the Basilian Monastery near Strusov. The buildings of monasteries are monuments of sacred art and important objects of national cultural heritage. Innovations that affected the ideological doctrine were reflected in the construction of the church: from a closed space monasteries turned into representative open complexes. In the interior of the temples, low partitions were replaced by wall altars, confessionals appeared, and so on. Some of the surviving altars today are masterpieces of sacred art. The Basilian monasteries reached their peak in the Baroque era under the patronage of wealthy families and with the involvement of leading European and Ukrainian architects. Their architecture forms the historical and cultural appearance of the Ternopil region. Monasteries represented the Western Ukrainian identity, performed sacred, defensive, cultural, functions, became an important part of the planning and figurative structure of cities and still give them an ideological color.
 The research convinces us of the importance of preserving monastic complexes, which carry the genetic memory of the nation, help to reconnect with our own historical past and complement our knowledge of the history of architecture.
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Ghosh, Nabaparna. "MODERN DESIGNS: HISTORY AND MEMORY IN LE CORBUSIER’S CHANDIGARH." Journal of Architecture and Urbanism 40, no. 3 (2016): 220–28. http://dx.doi.org/10.3846/20297955.2016.1210048.
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Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic iconography of Chandigarh clearly reveals that nature for Le Corbusier was more than a vast expanse of greenery: it was organized in symbolic ways, as a cosmic form emblematic of Hindu mythologies. I will argue that in addition to local conditions – economic and cultural – that impacted the actual execution of Le Corbusier’s plans, cosmic iconography shaped a modernism profoundly reliant on Hindu traditions. This iconography also inspired a new generation of Indian architects like Balkrishna Vithaldas Doshi (1927 – present). Doshi played a key role in authoring the postcolonial architectural discourse in India. Following Le Corbusier, he advocated an architectural modernism anchored in sacred Hindu traditions.
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Buchner, Maximiliane. "Wiederaufbau aus dem Glauben." Architectura 46, no. 1 (2016): 104–27. http://dx.doi.org/10.1515/atc-2016-0006.
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AbstractEuropean architecture in the second-half of the 20th century had many different roles to fulfil. Initially it sought to reconnect to what had been the ›modern style‹ before the outbreak of World War II, or rather, before the rise of National Socialism in Germany and Austria. This is true in a very special way for sacral architecture. After the human catastrophe of the Nazi regime with its destruction and desperation, all eyes were on the Church awaiting a statement. This was made not only through the erection of newly-built churches – in a density unique in the history of church building – but also in their contextual placement. The thesis of this article claims that the embedding of sacred rooms within newly-built architecture, such as in residential buildings, universities and student accommodation, is an ideal way of creating new – and hopefully better – societies based on a foundation of religious values
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SYGULSKA, Anna, Tomasz CZERNIAK, and Adrian CZARNY-KROPIWNICKI. "EXPERIMENTAL INVESTIGATIONS AND COMPUTER SIMULATIONS TO SOLVE ACOUSTIC PROBLEMS IN THE MODERN CHURCH." Engineering Structures and Technologies 10, no. 1 (2018): 34–45. http://dx.doi.org/10.3846/2029882x.2018.1445037.
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Architectural acoustics of contemporary sacred buildings is still an under-appreciated issue. Many contemporary churches are not functional enough due to acoustic defects which occur there. The study discusses issues of the modern Catholic church, where acoustic problems surface as high reverberant noise levels. The building under investigation, i.e. the Church of the Visitation of the Blessed Virgin Mary, is the biggest contemporary church in Poznań, Poland, as its internal volume amounts to 16,800 m³. On the basis of in situ investigations, a computer model of the church was built and a series of simulations were carried out to determine correct treatment in order to achieve satisfactory acoustic conditions. The main assumption was to find such a solution as not to affect the modernist architecture of the church.
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Heldman, Marilyn E. "Creating Sacred Space: Orthodox Churches of the Ethiopian American Diaspora." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (2011): 285–302. http://dx.doi.org/10.3138/diaspora.15.2-3.285.
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This essay examines the creation of places of worship by Ethiopian Orthodox congregations in North America, focusing primarily on the District of Columbia and adjacent areas in the states of Maryland and Virginia. Following a discussion of the historical background and development of church architecture in Ethiopia, the essay demonstrates that the shaping of the interior space of Ethiopian Orthodox churches in North America follows a modern model developed in Addis Ababa during the early 1960s. The study concludes with a brief analysis of painted decoration, a necessary component of the sacred space of an Ethiopian Orthodox church. (3 February 2009)
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Cameron, Catherine M. "Sacred Earthen Architecture in the Northern Southwest: The Bluff Great House Berm." American Antiquity 67, no. 4 (2002): 677–95. http://dx.doi.org/10.2307/1593798.
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This article reports on the excavation of a “berm”—an earthen mound that surrounds the Bluff Great House in southeastern Utah. Comparisons are made to Chacoan-era (A.D. 850–1150) great house mounds in Chaco Canyon and to other berms and mounds at great houses throughout the Chacoan region. Great house mounds in Chaco Canyon and berms outside Chaco Canyon are assumed to have been ritual architecture, and continuity in the use of mounded earth and trash as a sacred place of deposit is traced through time from the Pueblo 1 period to modern Pueblos. The Bluff berm does not seem to have been constructed as the result of ceremonial gatherings (as has been suggested for the great house mounds in Chaco Canyon), but there is intriguing evidence that it continued to be used into the post-Chacoan era (A.D. 1150–1300), perhaps as a result of a restructuring or revival of Chacoan ideas in the northern San Juan region. Examination of the spatial distribution of berms suggests that they are most common at great houses south and west of Chaco Canyon; the northern San Juan region, where Bluff is located, has far fewer such features, possibly because the revival of Chacoan ideas in this region was short-lived.
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Barashkov, V. V. "Modern Church Architecture as an Intercultural Space of Aesthetic and Moral Communication." Concept: philosophy, religion, culture 4, no. 3 (2020): 149–57. http://dx.doi.org/10.24833/2541-8831-2020-3-15-149-157.
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The paper analyses the messages modern architecture communicates to audience and to individual. Architects and theologians regard a church as a community place, and raise questions of aesthetic features of church buildings. At the same time, church space is essential to the visitors’ abilities to remember, to compassionate and to concentrate.The article focuses on the concepts of three modern theologians: Thomas Erne, Bert Daelemans and Sigurd Bergmann. According to Erne, churches are becoming a space of self-transcendence; they are open to various social and aesthetic values within the sphere of the infinite. Daelemans formulates three dimensions of a church building — synaesthetic, kerygmatic and eucharistic — and doing so, establishes the notion of theotopy, the nonverbal theology of architecture. Bergmann considers the sacred place as a critical place. In addition, architects seek not only the theological reflection on such spaces, but also on solutions that reveal their transcendental dimension.Church architecture gives an opportunity to express the inexpressible by figurative means, keeping in mind the thoughts of the visitors. A complex religious space, a church is presented to a person and, therefore, can be grasped in a range of ways. So the church space is constructed. Overall, as a space for dialogue and communication, which is not only a religious, but also an aesthetic and moral construct, a temple remains significant despite secularization trends.
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Boutros, Ramez. "Dimensions and Proportions in Egypt’s Byzantine Religious Architecture." Journal of the Canadian Society for Coptic Studies 12 (December 3, 2020): 35–57. http://dx.doi.org/10.5913/jcscs.2020.86435971.
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In the study of Egypt’s Byzantine religious architecture, modern scholarship has been focusing essentially on es- tablishing the typology of plans and their relative chronology. Church building activity has also been studied by using the written sources complimented by the archaeological evidence. is abundant Christian archaeological material shows an amazing variety and complexity in church designs. ere is a need of a rationalized analysis of the proportion ratios of the church buildings, and a necessity to focus on the dominant factors dictating its size, the type of its structure, and the quantities of materials used in its construction. e study of geometric shapes and the evolution of their sacred perceptions is yet another interesting facet of this type of architecture. e purpose of this paper is to explore new approaches in studying the proportion ratios and its correlation with the measuring units used in Byzantine church architecture and the existence of any symbolic concepts.
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Pylypenko, Ivan. "THE HISTORY OF ART WORKSHOP AND TEMPLE CULTURE OF THE NATIONAL ACADEMY OF FINE ARTS AND ARCHITECTURE." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 136–41. http://dx.doi.org/10.33838/naoma.28.2019.136-141.
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This article is dedicated to the studio of fine arts and temple culture in the context of the history of the National Academy of Fine Arts and Architecture. Analyzed was the educational program of the studio’s founder,M. Storozhenko. Discovered were the methodological analogies between the studio of monumental painting and templar culture of NAFAA, M. Boychuck’s art workshop and the icon-painting studio of the Kyiv Pechersk Lavra. It was proved that an analysis of historical experience can be useful in the educational process and in the upbringing of the modern painters of sacred (religious) art.
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Bayliss, Richard. "The Alacami in Kadirli: Transformations of a Sacred Monument." Anatolian Studies 47 (December 1997): 57–87. http://dx.doi.org/10.2307/3642900.
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Situated on the outskirts of the modern town of Kadirli is the best preserved late Roman church in eastern Cilicia. Its characteristics of design and construction are of pivotal significance for addressing the development of early Christian architecture in the region, as it represents the archetype of a definable group of churches in the upper Cilician plain, which link the building traditions of Syria with those of Anatolia and the southern shores. As it stands today, this structure known as the Alacami displays over a millennium and a half of local history, the liturgy of three different faiths and even more transitional building phases. In 1949 a full measured survey of the building was conducted by Michael and Mary Gough who in the same year were working at nearby Anazarbus. The results were never published and remained lost until 1994 when work commenced on cataloguing the Gough archive. The following study presents the full details of the Gough's survey for the first time and provides a detailed discussion of the monument in context, charting its development from the Roman period to the present day.
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TOUBER, JETZE. "APPLYING THE RIGHT MEASURE: ARCHITECTURE AND PHILOLOGY IN BIBLICAL SCHOLARSHIP IN THE DUTCH EARLY ENLIGHTENMENT." Historical Journal 58, no. 4 (2015): 959–85. http://dx.doi.org/10.1017/s0018246x15000163.
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AbstractThe article reconstructs the seventeenth-century Dutch debate about the proper method to reconstruct the biblical temples of Jerusalem. It examines the involvement of Willem Goeree (1635–1711), an expert in architectural theory, in this debate which was dominated by philologically trained scholars. The article suggests that the clash between professional exegetes and a lay theologian like Goeree allows us to see hermeneutical debates of the early Enlightenment in a new light. While the skilled professional aspired to make arcane Temple scholarship accessible to a wider lay audience, theologians denied him the competence to do so, insisting on the primacy of sacred philology in interpreting the Bible. This case thus moves outside of the dogma vs reason dichotomy which dominates historiography concerning early modern biblical interpretation.
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Proctor, Robert. "Churches for a Changing Liturgy: Gillespie, Kidd & Coia and the Second Vatican Council." Architectural History 48 (2005): 291–322. http://dx.doi.org/10.1017/s0066622x00003816.
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The relationship of Modernism in architecture with the symbolic needs of church- building was fraught with the dangers of betrayal: whether the architect indulged in personal spiritual expression, or used traditional forms, he could be accused of stylistic excess; if he applied a reductive functionalism, the result could be faulted as failing the brief. After the Second World War, expression and tradition were gradually admitted into Modernism to expand and enrich its vocabulary, and the limits of functionalism were reassessed. Churches were a field in which architects of the Modern Movement could explore their new concerns with poetic form and monumentality, in contrast to the more prosaic jobs in housing, schools, and so on; but few architects had the chance to work on churches in quite the same volume as the more pressing post-war building tasks. One firm of architects with an exceptional opportunity was Gillespie, Kidd & Coia, responsible for a series of Roman Catholic churches in Scotland, ‘the finest body of post-war church building in Britain’, according to Elain Harwood.1 This work has attracted attention from architectural historians before, particularly for its rich and humane interpretation of sacred architecture.
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Barashkov, Viktor V., Denis A. Begchin, and Ivan P. Davidov. "Modern European Philosophy of Symbolic Forms of Religious and Artistic Consciousness." Voprosy Filosofii, no. 6 (2021): 74–84. http://dx.doi.org/10.21146/0042-8744-2021-6-74-84.
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The article deals with the philosophical issues in the field of religious art. The revision of the theories of secularization in the late 20th – early 21st centuries allowed philosophers speak not only about the autonomy of art in relation to religion, but also about the dialogue between these two “symbolic forms of consciousness” (according to E. Cassirer) and the fields of culture. The aim of this article is to offer an analysis of the corpus of selected texts of both Russian and foreign specialists of the last quarter of the 20th – early 21st centuries who worked in related fields (iconology, spatialization, semiotics of culture and art, philosophy of culture, and theology). The subject matters of the article is the philosophical, religious, cultural, art history, semiotic, theological, and anthropological theories of authors whose works were in the representative sample of this study. The literature can be divided into several categories: 1) publications that discuss the relationship between the “secular” and “sacred” in modern culture; 2) publications that describe the essential features of modern temple construction and give a broad interpretation of the concept of “sacred spaces”; 3) publications that describe and analyse specific manifestations of the dialogue between art and religion. The main methods are the method of description and the method of complex philosophical and religiological analysis. The originality of the research lies in the attempt to systematize various points of view on the place and role of religion and art in a post-secular society. The goal is to offer a wide panorama of modern theories of the interaction of religion, architecture, and fine art. Tthe main tasks are complex analysis, classification and qualification of research approaches of the authors under consideration.
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Gómez Gómez, María Belén. "El proyecto religioso del cardenal Montini a la vanguardia de la arquitectura milanesa. El caso de Mater Misericordiae, icono de la modernidad | Cardinal Montini´s Religious Project, on the avant-garde of Milanese architecture. The study case of Mater Misericordiae, an icon of modernity." ZARCH, no. 8 (October 2, 2017): 300. http://dx.doi.org/10.26754/ojs_zarch/zarch.201782168.
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Durante la década de los años cincuenta del pasado siglo la ciudad de Milán creció a un ritmo acelerado al tratar de acomodar a la población que, como consecuencia de los movimientos migratorios acaecidos al final de la Segunda Guerra Mundial, se había ido alojando en la periferia. Algunas entidades, como la Diócesis de esta ciudad, trataron de dar ayuda espiritual a los habitantes de estas áreas en crecimiento, consolidándose esta iniciativa en un plan de construcción de nuevos complejos parroquiales en los alrededores de la ciudad. En el año 1955 es nombrado Arzobispo de Milán Giovanni Battista Montini, futuro Papa Pablo VI, que será una figura clave, el verdadero artífice tanto de este plan de construcción de iglesias como de la modernización de la imagen de la arquitectura sacra en Milán. Montini encargó muchos de los proyectos a arquitectos innovadores de experiencia probada, que trabajaban habitualmente en Milán o en otras zonas de Italia, pero también solicitó la redacción de algunos proyectos a jóvenes arquitectos que apenas tenían experiencia en el campo de la arquitectura eclesiástica. Con él, el ritmo de construcción de iglesias se incrementó considerablemente en los alrededores de la ciudad, llegando a levantarse en esos años más de cien nuevos edificios sacros. La intención de este texto es señalar, a través de una serie de ejemplos relevantes, entre los que destaca la iglesia Mater Misericoridae, cómo la Diócesis de Milán contribuyó, mediante una renovación de la imagen de la Iglesia como institución a través de su arquitectura, a definir la identidad de algunos barrios periféricos de la ciudad. En ellos, las nuevas construcciones eclesiásticas se convirtieron en hitos, símbolos de una importante renovación litúrgica que se había iniciado unas décadas antes en otros puntos de Europa Algunas de las nuevas propuestas arquitectónicas, en las que la Iglesia Católica apostó por apoyar la reconciliación entre arte moderno y arte sacro, se convirtieron en modelos de referencia en los que confluían tradición y modernidad. El caso concreto de la Iglesia Mater Misericordiae permite reconocer un alto grado de experimentación, muy por encima de otras arquitecturas coetáneas, tanto religiosas como civiles, muestra de la apuesta que la Diócesis milanesa, y en concreto el Cardenal Montini, hizo al apoyar la construcción de un proyecto renovador de verdadero carácter vanguardista.PALABRAS CLAVE: Milán de posguerra, arquitectura sacra, renovación litúrgica, iglesia y modernidad. During the 50s’ the city of Milan experienced a fast growth to accommodate the population that arrived into the city as a consequence of the migratory movements that took place at the end of the Second World War. Some organizations, such as the Archbishopric of the city, tried to provide with spiritual help to the inhabitants of this developing areas. This initiative turned into a plan for the construction of new parish churches in the settlements around the city. In the year 1955 Giovanni Battista Montini - who a few years later would become pope Paulus VI- Became archbishop of Milan and took over the management and planning for the construction of new churches. He was responsible for the modern image of sacred architecture in this city. Montini commissioned a group of innovative architects with proven experience that had already worked in Milan or other parts of Italy to deliver some of the Projects. At the same time, he appointed a group of young architects with relatively little experience in the field of ecclesiastical architecture and put them in charge of a second group of projects projects. Under Montini the rhythm of churches construction in the neighborhoods around Milan increased considerably and more than one hundred churches were constructed during this period and the following years. This paper discusses the contribution of the Diocese of Milan, within the renovation of the church as an institution through its architecture, to define the identity of some of the new peripheral areas of the city. For this purpose, some of the most interesting examples of architecture constructed during this period have been selected. Among all this constructions the church of Mater Misericordiae can be singled out for a number of reasons. These new sacred constructions became symbols of the important Liturgical renewal that had started a few decades before in some other parts of Europe. Some of these new architectural proposals, in which the Catholic Church tried to reconcile modern and sacred art, became new models of reference in which tradition and modernity went hand by hand. In the case of the church of Mater Misericordiae a high level of experimentation, well above some other contemporary sacred and civil constructions, can be recognized. This is an evidence of Montini’s commitment, to support a really avant-garde renewal project.KEYWORDS: Post-war Milan, Sacred Architecture, Liturgical renewal, church and modernity.
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James-Chakraborty, Kathleen. "Memory and the Cityscape: The German Architectural Debate about Postmodernism." German Politics and Society 17, no. 3 (1999): 71–84. http://dx.doi.org/10.3167/104503099782486833.
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Few tools of Nazi propaganda were as potent or as permanent asarchitecture. At the instigation of Hitler, who had once aspired to bean architect, the Nazi regime placed unusual importance on thedesign of environments—whether cities, buildings, parade grounds, orhighways—that would glorify the Third Reich and express its dynamicrelationship to both the past and the future. Architecture and urbandesign were integral to the way the regime presented itself at homeand abroad. Newsreels supplemented direct personal experience ofmonumental buildings. Designed to last a thousand years, these edificesappeared to offer concrete testimony of the regime’s enduringcharacter. A more subtle integration of modern functions and vernacularforms, especially in suburban housing, suggested that technologicalprogress could coexist with an “organic” national communityrooted in a quasi-sacred understanding of the landscape.
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Budiarta, I. Wayan, and I. Gusti Ngurah Tri Adiputra. "PUSAT PEMBINAAN DAN PENGEMBANGAN KESENIAN WAYANG DI BALI." Jurnal Anala 8, no. 1 (2020): 45–58. http://dx.doi.org/10.46650/anala.8.1.936.45-58.
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The existence of some puppets show in Bali are significantly marginalized at recently in the midst of any entertaiments growing up. There are a tendency that the puppets show are almoust going to be extinct, for an example Nongnong Kling Puppet at Paksa Bali Village, Klungkung regency. The sacred puppet show was able to be performed until 1988, because its group members are dispersed and there is only one senior dancer still remains. The similar condition was happened at custom village of Manggis, Manggis subdistrik at Karangasem regency. The village had ever possesed a Telek Puppet group at (Wayang Wong/Parwa) as a sacred dance for offering rites/piodalan the Pura Desa temple of Manggis custom village. Waning of the dance was caused by the lack interest of the successor generations (the youth prefer to work on tourism). Meanwhile, at Buduk custom village, Badung regency, there is a Cupak puppet tradition group that is closed to be vanished. Regarding with the extinction tendency of the puppet show group, so it needs establishing a facility as the centre for puppet coaching and developing in Bali. The research uses an inductive approach for constructing some concepts of designing and planning. The concepts were formulated from the intesection of some components, such as : the field observation result, the puppet expertise interview, the study of literatures , the comparative study, the study of some architectural standards and also the study of local government regulation. The designing and planning for the centre of puppet coaching and developing in Bali, in Gianyar regency, are used the basic concept as follwos : recreative, educative, creative and productive which means that the concepts are reformulated from : the functional approach, climate & environment and the social-cultural background. The architecture theme of Neo Vernacular applied in designing and planning for the centre of puppet coaching and developing in Bali, in Gianyar regency intend its façade/physical appearance can be in harmonious matter at the surrondings, but it still has a contemporary building impression. Because the Neo Vernacular architecture is an equivalent combination between the traditional architecture and modern one.
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Oksana, Diachok. "STAGES OF FORMATION OF THE VOLUME AND SPATIAL STRUCTURE OF THE CHURCH OF THE NATIVITY OF CHRIST IN TERNOPIL." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (2021): 60–68. http://dx.doi.org/10.23939/sa2021.01.060.
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Scientific research is devoted to the historical stages of development of one of the oldest churches in Ternopil - the Church of the Nativity of Christ, built in the early XVII century, which is one of the best examples of Podillya sacred architecture. The church is included in the state register of the national cultural heritage of Ukraine. Complicated socio-political processes in the Ternopil region and confessional transformations changed the architectural image of the shrine. The church managed to survive despite the war when almost the entire historic part of the city was destroyed. The Soviet occupation caused the greatest damage to the sacred complex. The indifference of the authorities to the architectural monument in the modern period and the emergency around the monument almost led to the destruction of the shrine. There is data on the gradual change in the volume and planning structure of the church, which began during the Reformation. The changes were also related to the intensification of national and cultural revival and the organization of the Orthodox Brotherhood at the church. The reconstructions in 1700 were associated with a change of denomination and the conversion of the parish to the Greek Catholic faith. The modernization of the church took place in 1808 to give the cathedral features and the traditional scheme of the Ukrainian three-story church: an additional volume was added to the western facade and the church was crowned with two more decorative heads. As a result of a reconstruction in 1936–1937, the church acquired a modern look. The Soviet period was the most destructive for the church, the church was first transferred to the Russian Orthodox Church, later closed. In 1958, during the expansion of the central street of the city, the bell tower and the fence were demolished. Restoration work began with Ukraine's independence. The article provides data on research during restoration surveys, which confirmed the fact that the church fortress was part of the general defence system of Ternopil and the hypothesis of researchers that part of the temple was part of the Kamyanets entrance gate of the city.
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Osborne, Catherine R. "Review: Saint John's Abbey Church: Marcel Breuer and the Creation of a Modern Sacred Space, by Victoria M. Young." Journal of the Society of Architectural Historians 76, no. 3 (2017): 400–401. http://dx.doi.org/10.1525/jsah.2017.76.3.400.
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Crova, Cesare. "Giuseppe Zander restorer. The methodological approach to the conservation project." Resourceedings 2, no. 3 (2019): 6. http://dx.doi.org/10.21625/resourceedings.v2i3.619.
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Giuseppe Zander was the "Proto" of the "Fabbrica di San Pietro": the architect who undertook the restoration of the most important complex of Christianity, after being a member of the Pontifical Commission of Sacred Art in Italy.In this capacity, the approach to the monument for Zander was of absolute respect, the knowledge of the architectural work was acquired through real sketches, annotations on the formal and constructive aspects, the building phases, the materials used, the degradation. The direct investigation was accompanied by the theoretical study with the bibliographic and archival research, from which derived the critical synthesis contained in his notebooks. From these studies emerges the full mastery of the subject and the opportunity to understand the context by an audience not necessarily made of experts, using a simple and immediate language, but at the same time cultured, full of classic quotations, from which emerges his figure of humanist.His designer activity as a restorer remains in all his projects, from which the mentioned concepts are outlined, with his careful theoretical reflection that precedes the restoration project, in which he acquires the values of the past architecture transposing them into modern forms through the use of modern techniques and technologies, in perfect union with construction techniques and local typological habits.Among many projects, we focus on the restoration of the "Collegiate Church of San Pietro" in Minturno (1966-67), in which we find the synthesis of the methodological path of Giuseppe Zander.
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Zotti, Georg, Bernard Frischer, and John Fillwalk. "Serious Gaming for Virtual Archaeoastronomy." Studies in Digital Heritage 4, no. 1 (2020): 51–74. http://dx.doi.org/10.14434/sdh.v4i1.31041.
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Many cultures worldwide have left traces of sacred architecture and monuments which often show correlation to astronomical events like solstitial sunrises. Virtual archaeology can be used to explore such orientation patterns using digital reconstructions and positions of celestial objects computed from modern astronomical models. Most 3D editing systems used to build virtual reconstructions of such monuments however fail to provide astronomically accurate solar illumination models which can recreate the slightly different solar positions of antiquity or even prehistory, and even worse, any usable representation of the night sky. In recent years, two systems created independently by the authors of this study have been utilized for investigations into the orientation of architecture with respect to celestial processes. Both had their advantages and shortcomings compared to each other. One extended a dedicated open-source desktop astronomy program with a 3D rendering engine where such monuments can be investigated in the first-person perspective by interactive walkthrough. The other system uses a game engine and external online resources which provides only solar or planetary positions, but no star data. This study presents ways of connecting both systems in an attempt to take advantage of the best of both approaches.
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Bhandari, Harveen, Prabhjot Kaur, and Aruna Ramani Grover. "The ongoing construction trends in Shaktipithas of Himachal Pradesh-symbols of living religious heritage." International Journal of Engineering & Technology 7, no. 1.4 (2018): 14. http://dx.doi.org/10.14419/ijet.v7i1.4.9029.
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Shaktipithas represent India’s rich cultural heritage. The continuity of functions at these sites further reinstates their significance as Living Religious Heritage. Their spiritual value is central to hundreds of millions of people who visit them every year. The growing population, boost in commerce, advancements in construction technology has impacted the construction trends in all spheres and typologies of architecture. Temples, the religious heritage of the country, are being widely affected by this new movement in architecture. These temples were built years ago using characteristic elements from Indian traditional temple styles or regional vernacular elements. With growth in population and rising number of pilgrims, these complexes face shortfall of infrastructure facilities. To accommodate large inflow of pilgrims especially on festivals large scale construction activities are in full swing on these sites. This paper tends to present a thorough insight into the ongoing developments at some popular sites in Himachal Pradesh, India which are in contemporary style using modern methods of construction. It is highly insensitive to the existing character of our religious heritage and deteriorates the built environment. So the need arises to conserve our cultural heritage, take timely measures to make these places sustainable pilgrimage destinations and keep alive their distinct sacred visual impact.
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Belén Gómez, María. "La rehabilitación de un ícono de la modernidad la Iglesia Mater Misericordiae = The rehabilitation of an icon of modernity the Church Mater Misericordiae." Anales de Edificación 3, no. 3 (2017): 20. http://dx.doi.org/10.20868/ade.2017.3675.
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La iglesia Mater Misericordiae es un edificio sacro levantado en Baranzate (Milán) a finales de la década de los años 50.Supone la culminación de una serie de experiencias que pretendían la renovación de la liturgia y, con ello, la renovación de laarquitectura. Su construcción, enmarcada dentro de un plan más amplio acometido por el Arzobispado de Milán, supuso un gran avance en varios campos relacionados, principalmente, con la modernidad de la arquitectura sacra, la construcción y las nuevas tecnologías. Incorpora el uso no solamente del hormigón, material poco utilizado hasta ese momento en construcciones sacras, sino que, además, introduce un sistema de prefabricación y postesado “In situ” para la ejecución de la estructura que muestra el interés de los técnicos de la época por hallar nuevos medios de sistematización de la construcción. El sistema constructivo de cerramiento utilizado permite delimitar el espacio litúrgico mediante una piel translúcida que rodea el espacio, permitiendo la entrada de luz natural durante el día y la iluminación del entorno durante la noche. La presente investigación trata sobre las diferentes soluciones que se han empleado en la resolución de las fachadas de cerramiento, haciendo especial hincapié en la solución utilizada en la última rehabilitación a la que ha sido sometida. En este caso se han tratado de incorporar las tecnologías modernas más avanzadas para la resolución de los problemas que esta presentaba pero respetando al máximo la idea del proyecto original.AbstractThe church Mater Misericordiae is a sacred building raised in Baranzate (Milan) at the end of the decade of the 50s. It supposes the culmination of a series of experiences that were claiming the renovation of the liturgy and, with it, the renovation of the architecture. His construction, framed within a broader plan undertaken by the Archbishopric of Milan, supposed a great advance in several fields related, principally, with the modernity of the sacred architecture, the construction and the new technologies. It incorporates the use not only of concrete, material little used until that moment in sacred constructions, but also, it introduces a prefabrication and post-tensioned system "In situ" for the execution of the structure that shows the interest of the technical personnel of the epoch to find new means of systematizing of the construction. The constructive system of used closing allows to delimit the liturgical space by means of a translucent skin that surrounds the space, allowing the entry of natural light during the day and the lighting of the environment during the night. The present investigation treats on the different solutions that have used in the resolution of the fronts, doing special support in the solution used in the last rehabilitation to which it has been submitted. In this case they have tried to incorporate each other the modern technologies most advanced for the resolution of the problems that this one was presenting but respecting to the maximum the idea of the original project.
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Puspitasari, Popi, Achmad Djunaedi, and Sudaryono, Heddy Shri Ahimsa Putra. "Cyclical Changes of Space: The phenomena of space changes in historic-religious Kampung Luar Batang, Jakarta, Indonesia." Asian Journal of Environment-Behaviour Studies 3, no. 6 (2018): 69–79. http://dx.doi.org/10.21834/aje-bs.v3i6.237.
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 Kampung Luar Batang is a modern-traditional urban settlement occupied by a heterogeneous community with hybrid culture, at the proximity of an urban pilgrimage center – a maqom (sacred tomb). By employing phenomenological research methodology, this study has been able to understand how the religious, traditional and economic activities Kampung have simultaneously generated the phenomenon of changes in the articulation of space in cyclical patterns (annually, weekly, and daily). Social exchange based on religious-tradition has generated fluid, elastic, and changeable spatial characteristics. This paper is intended to describe the underlying reasons of these phenomena and to generate a model for these interesting cyclical changes of space.
 Keywords: Pilgrimage, Cyclical changes of space, Historical-Religious Urban Kampung
 eISSN 2514-751X © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Hultman, Maja. "The Construction of the Great Synagogue in Stockholm, 1860–1870: A Space for Jewish and Swedish-Christian Dialogues." Arts 9, no. 1 (2020): 22. http://dx.doi.org/10.3390/arts9010022.
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The construction of the Great Synagogue in Stockholm during the 1860s initiated Jewish communal debates on the position and public presence of Jews in the Swedish pre-emancipatory society. An investigation into the construction process not only reveals various Jewish opinions on the sacred building, but also the pivotal role of Swedish-Christian actors in shaping the synagogue’s location, architecture, and the way it was presented in the public narrative. The Jewish community’s conceptualization and the Swedish society’s reception of the new synagogue turned it into a space on the ‘frontier.’ Conceptually situated in-between the Jewish community and the Swedish-Christian society, it encouraged cross-border interactions and became a physical product of the Jewish and Swedish-Christian entangled relationship. Non-Jewish architect Fredrik Wilhelm Scholander, historical figures prominent in the Swedish national narrative, and local and national newspapers were incorporated by the Jewish lay leadership into the creative process, and they influenced and circulated the community’s self-understanding as both Swedish citizens and Jews of a modern religion. The construction process and final product strategically communicated Jewish belonging to the Swedish nation during the last decade of social and legal inequality, thus adding to the contemporary political debate on Jewish emancipation.
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Aeschliman, Michael. "Cultural tourism as pilgrimage." Semiotica 2018, no. 225 (2018): 245–52. http://dx.doi.org/10.1515/sem-2016-0230.
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AbstractIn this recent address to a UNESCO doctoral summer school in northern Italy, the author argues that all cultural tourism has underlying and implicit philosophical-religious dimensions that are particularly important in the era of “late capitalism,” in which “the idiosyncratic has triumphed over the normative” and there is a deeply nihilistic drive and trajectory to the ascendant culture. After drawing on the sociologist Daniel Bell’s analysis of “the cultural contradictions of capitalism,” the author argues that there is an irreducible sacred dimension to the human person (res sacra homo) and his or her life always has the character of a pilgrimage, cognitively comprised of a quest for significance beyond the separate meanings of the normal occupational and utilitarian life. Master-works of urbanism, architecture, sculpture, painting, music, and literature offset the nihilistic dynamic of “late modernity,” and the author draws particular attention to literary works of cross-cultural understanding such as the trilogy of historical novels about India by L. H. Myers, The Root and the Flower and the novels of the great modern Japanese writer Shusaku Endo. As works of fundamental importance for orienting his analysis he adduces C. S. Lewis’s The Abolition of Man and Viktor Frankl’s Man’s Search for Meaning.
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Zavalii, Oleksandr Ivanovich. ""Temple complexes" in the religious life of the trypillia community." Ukrainian Religious Studies, no. 92 (January 3, 2021): 64–88. http://dx.doi.org/10.32420/2020.92.2168.
Full textAbstract:
In the period 4800-3600 BC. in the eastern part of the Trypillia area arose "giant settlements" or "megasites" / "mega-settlements" (working term of modern archaeologists) with thousands of buildings. In the central parts of these living conglomerates, scientists found special buildings that were recognized as sanctuaries, sacred complexes or temples. In the late period of the Trypillia culture they disappeared. These religious buildings were built with a focus visible processes of celestial bodies and the laws of cyclic rotation of the Earth in space, and included in their internal filling usually cruciform altars, ritual utensils, troughs with graters for the preparation of ritual bread and numerous other ceremonial and religious artifacts. There were also unique finds, such as gold jewelry (an element of prestige) and a perforated clay disk with tockins to it from the space of the Nebelivka Temple. The interior and exterior walls of the Trypillia sacral centers were painted with natural colors with a predominance of red. The wood carving for decoration of elements of a skeleton of a construction was investigated also. The first Temples on the European continent show that even at that time there was a cult of architecture. In general, it is clear that such Trypillia objects of religious worship carried encoded astronomical information in symbolic form. The building itself was oriented with regard to worldsides and designed relative to visible celestial bodies. This indicates that the people of Trypillia had a fairly clear worldview, which allowed them to reach the level of understanding the structure and mechanisms of many natural cyclical processes on Earth. Trypillia cosmology united the celestial and terrestrial spheres, and the Temple was the point of contact of the earth with the visible Universe.
 In his work, the author traces the existing analogies in the structure of construction of Trypillia and sacred complexes of the ancient Middle East and biblical ideas about the Tabernacle and the House of the Lord in the ancient Jews, given the fact, that the Trypillia temple building is known from 4,000 years BC. and several thousand years older than the Middle Eastern counterparts. There are also significant parallels in the construction of temples in the context of Indo-European religious heritage.
 It is noted that the Temple was not only a metaphysical reflection of the annual cycle with a focus on the points of the equinoxes and solstices, but also had a higher religious function, which consisted in the combination of the terrestrial sphere with the celestial, the connection of man with the mystery of the cosmos.
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Desak Made Sukma Widiyani,S.T.,M.T and Ni Luh Suratmi. "FILOSOFIS DAN MAKNA BALE SAKANEM DI PETANG, BADUNG." Jurnal Anala 8, no. 2 (2020): 1–6. http://dx.doi.org/10.46650/anala.8.2.970.1-6.
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Traditional Balinese house architecture is a work that is born from the traditions, beliefs and spiritual activities of the Balinese people which are manifested in various physical forms, such as traditional houses, sacred places (places of worship called temples), meeting halls, and others. The birth of various physical manifestations is also caused by several factors, namely the geography, culture, customs, and socio-economic conditions of the community. One of the buildings in a traditional Balinese house is the Bale Dangin. Bale Dangin is located in the eastern part of the Balinese Hindu community yard. Bale Dangin has the main function as a place to make and place ceremonies for Manusa Yadnya ceremonies such as metatah (tooth cutting), otonan, pewiwahan natab in bale and other activities.
 Along with the development of the times like nowadays, Bale Dangin buildings are rarely found in Hindu community houses in Bali, there are several factors affecting this, from the land that is owned is narrow / only enough for the main building to the factor that people are less interested in traditional buildings on the grounds that they are not modern and with the times. So that there is a change in the meaning of the Bale Dangin Building itself. In addition to changes in meaning, there is also a change in the materials used in the construction of the Bale Dangin building, after searching data by interviewing and field observations, it is known that things that affect changes in the use of Bale Dangin materials are due to climate / weather, developments existing architectural styles and the state of the community economy.
 The purpose of this research is to discuss how the function and meaning of the existence of Bale Dangin, especially Bale Dangin Sakanem in Hindu community homes in Bali, and to find out what materials can be used to produce Bale Dangin buildings that are still up to date with the times but do not reduce the value of philosophy and meaning of Bale Dangin itself so that it can survive amid the development of architectural styles in Bali.
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Makała, Rafał. "Dwa kościoły. Budownictwo kultowe w międzywojennych Niemczech jako przestrzeń modernistycznych eksperymentów." Porta Aurea, no. 19 (December 22, 2020): 325–46. http://dx.doi.org/10.26881/porta.2020.19.17.
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The time between WW I and II was a period of intensive development of church architecture in Germany. In the new situation after the defeat in WW I on the wave of Christian renewal movements, the concept of the church as a building corresponding to its functions, as an object expressing the character of religion and the vision of a congregation as a community in modern society was re -formulated. The dynamically developing church architecture was an area of intense experiments (especially in the 1920s.), creating new forms, as well as devising new iconography by Rudolf Schwartz, Otto Bartning, or Dominikus Böhm. The paper draws attention to a certain community of the main antagonized Christian and Protestant denominations on the example of two buildings erected on the eastern periphery of the then Germany (from 1945 constituting the western part of Poland): the Catholic Church of St Anthony in Schneidemühl (now: Piła, Hans Herkommer, 1928–1930) and the Protestant Cross-Church in Stettin (now: Szczecin, Adolf Thesmacher, 1929–1931). The first was built in a small town as a representative seat of the Prelature, a branch of the Catholic Church in the Protestant region, near the then border with (revived again) Poland. The building is a continuation of an innovative and conservative concept realized by Herkommer at the Frauenfriedenskirche in Frankfurt am Main (1927–1929), and is a testimony to the search for forms expressing the rationalist aspirations for the renewal of the Catholic Church, however without abandoning the main principles of the Tradition. For this purpose, Herkommer applies ‘industrial’ forms used in the Bauhaus circle, creating a clearly avant-garde building: not only in the local context of a small border town of eastern Germany, but also in the Catholic tradition of sacred architecture. Hiring an avant-garde architect and using modernist forms was the decision of one man: Monsignor Maximilian Kaller, the leader of the Prelature. The Church of the Cross in Szczecin was raised in a luxurious district of a great Protestant city, so it was the parish church of the Protestant elite. Although built of brick and clearly referring to the tradition of the Gothic architecture of this region, the Church of the Cross also reveals its striving for the maximum reduction of forms and the use of the language of abstraction. When building a Protestant church, Thesmacher resorted to forms applied primarily in Catholic architecture, especially to the forms used by Herkommer. Thesmacher created a facility expressing attachment to the local tradition and manifesting the modernity of the Evangelical church in Pomerania. As a result, both churches are a testimony to functionalist aspirations, although, of course, the functions differed from those on which, for example, the founders of the Bauhaus were focused.