Dissertation 3rd Year

Design Research Project: Analysing the phenomological experience within contempory religious architecure

Mohammed Amir Amin University of Salford Bsc Architecture

Contents: Abstract: (Page 1) Chapter 1: Introduction to phenomology theory in architecture (Pages 2-7) - Church Architecture (Pages 4-5) - Mosque Architecture (Pages 6-7)

Chapter 2: Applying theories of phenomenology to religious spaces (Pages 8-10) Chapter 3: Case studies (Pages 11-16)

- Visual Analysis of Church of the Light (Pages 11-13) - Visual Analysis of Al Aziz Mosque (Pages 14-16)

Conclusion: (Page 17) Biliography: (Pages 18-20) Image Source List: (Pages 21-22)

Page.1

Abstract-

The phenomenological experience within religious architecture has always had an important role as light, shadows and materials dictate the atmosphere and character in these spaces for spiritual gatherings (Stegers, 2008). In Christanity, symbolism and metaphors play a major role in understanding religious architecture and structures as the phrase “House of God'' is directly referencing churches, chapels and cathedrals (Coomans, 2012). Therefore, it is important to understand the phenomenological experience of sacred spaces as it does provide an insight to the spiritual connection between man and God through the phenomenological senses of architecture. Furthermore, in modern times religious architecture has experienced many changes that have been caused by the growing material wealth, concerns about sustainability and increased secularism in a growing number of countries which have changed the look of sacred spaces both interior and exterior (Kilde, 2008). As well as the role these religious structures play in modern society differs very much from the beginnings as the church was often a figurehead for state affairs. Although the former power churches and other religious structures once had has reduced the experience of their spaces for believers has grown even more intensely (Turner, 1979). This explains how light in religious buildings has been kept as an important metaphorical symbol and phenomenological aspect as God himself is referred to as ‘the light’ leading to many architects using light in their designs of church and cathedrals to further increase the connection between creator and creation (Kilde, 2008).

In this paper, Japanese Architect Tadao Ando’s Church of Light (Fig. 1) located in Ibaraki, Japan, that was completed in 1989 (Drew, 1996) will be compared to Al-Aziz mosque (Fig. 2), constructed by APG architecture and planning firm with the site being located on Al Reem Island in Abu Dhabi in the United Arab Emirates (UAE) (Sebambo, 2015). Using both a modern church and a mosque will allow better individual analysis of the differences in the aspects of their design which phenomenologically affects the users of each individual space. This will provide further insight to the experience of both of these contemporary religious buildings because of their similar use of concrete materials and light manipulation as each were designed for two very different sets of worshippers in their respective societies (Stegers, 2008). However, the resulting character of each building differs greatly from each other not just because of the difference in spiritual beliefs creating two very distinct atmospheres for worship but also through their manipulation of natural elements and symbols/messages in their design. This dissertation will analyse the phenomenological experience within contemporary, modern religious architecture using Ando’s Church of the Light and Al-Aziz Mosque as case study examples.

Figure 1- Church of the Light, photographed by Dyxhoorn (2009)

Figure 2- Al-Aziz Mosque, photographed by APG (2015)

Chapter 1-

Page.2

Introduction to phenomenology theory in architecture

The relationship between architecture and phenomenology often refers to the spatial conditions, light and shadows of a space which creates an extraordinarily sensory experience for the users, although never properly defined in architectural terms. During the 1990s, this philosophical approach to thinking about spaces gave an alternative view to the dominant trends of looking at the politics and meaning of architecture (Mallgrave, & Goodman, 2011). In this way, heavy emphasis is placed on the sensations and experience of architecture as the users move from passive to active experiencing the space in their sight, smell, touch and hearing. According to Lucas (2016), explained in his book Research methods for architecture, phenomenological aspects in design such as lighting can change the experience of space as it gives character to the structural elements and architects that implement this idea move away from simple geometric forms and ideas for space. Combined with sacred spaces often being thought of as spiritual, architecture of churches should differentiate themselves from regular structures. In Bachelard book ‘The poetics of space’ (1994), which describes the experiences and senses of the home explains that the over-picturesqueness and large scale of a house can hide the intimacy of the space. This can be applied to religious structures as well because of the common phrase of churches and other religious spaces being referred to as the ‘House of God’ meaning these spaces shouldn't try to replicate grandeur that the gothic architecture aimed to do in order to display the power and political power of the church over the people and instead sacred spaces should represent humble beginnings in modern times (Fig. 3 & Fig. 4). Similarly, sacred spaces in modern times have become diverse as more and more believers prefer to use their homes as a space to pray (Kilde, 2008). Therefore, it’s important for architecture for sacred spaces to be welcoming for all to encourage community gatherings and experience in the presence of God.

Figure 3- Contemporary example: Church of Saint Maria Goretti, photographed by Malagamba (2021)

Page.3 Additionally, over time the phenomenological experience and phenomenology became one of the most important philosophies applied in designing architectural structures in the modern day both in theory and practice (Shoja, 2015). This is because of the shift in mindset when architects begin to design through the means of non-verbal communication such as implementation of light and matter that has changed considerably in western societies. Architectural theorist Julian Pallasma (1936-) discusses how in the present architecture design has become too ocularcentric and often architects design for what we first see as the most important experience and do not give enough importance to the multisensory experience of a space such as touch, smell and sound (Tamari, 2017). In this regard it is important for religious architecture especially to become more than just a positive experience for the eye and architects designing these spaces should consider the different layers of experience a person will go through in the sacred space as it will leave a deeper connection and appreciation to the divine for believers if all senses are stimulated.

Figure 4- Traditional Gothic-style church, photographed by Staz (2021)

Church Architecture;

Page.4

In christianity, the gothic and baroque periods are seen as the pinnacle of church and cathedral architecture because of their extravigate decor and features as a display of power that the church had over the people although in the modern day the church and state has separated and the ocularcentric view on church architecture has shifted from the visuals being the considered the most important factor to the experience of the sacred space on the interior being seen as equally important (Stegers, 2008). This is because of the shift in attitudes and architectural styles towards religion structures, the growth of a secular society in many countries results in the evolution of church architecture to become much more humble and unique to the individual architects style with a focus more on the phenomenological experience of the community within its space to witness and discover their spirituality and relationship with God (Daelemans, 2015). The development of modern church architecture in the 20th century and beyond was reconstituted in the wake of the second world war as users saw the sacred space as a retreat and in need of new spiritual connection (Stegers, 2008). This desire ultimately led modern church architecture that was shaped by the community instead of the church shaping the community and becoming more fundamental in its design features keeping the altar, lectern, pulpit and crucifix with some degrees of variation and individual interpretation (Fig. 5). On the other hand, the experience of the senses within the sacred space in a church has remained vital such as traditional stained glass windows depicting holy images which manipulate and colour the interior spaces which provides a sense of distortion and awe as the user begins to wander through the space (Fig. 7) (Angus, 1984). The book ‘Sacred Concrete’ (2013) which discussed the churches of Le Corbusier (1887 - 1965) important symbolism in regards to the growing political trends at the time, the church's position of power was slipping and the turn to modernism style of architecture marked this change (Fig. 7). This led to an increased thought of psychological character and personification of a space being introduced to in design to allow users to feel more comfortable and safe from the conflicts outwards.

Figure 5- Alter space of a church, photographed by Eckstine (2019) Figure 6- Stained glass windows, photographed by Martin (2019)

Page.5 Also, the material choices for the interior furnishings also serve as a phenomenological aspect in design as well as aesthetic for example, the bench on which the user sits down during prayers being made from concrete instead of traditional wood finish leaves a different experience of the surface as the smooth and cold concrete contrasts with the textured wood (Fig. 8). Visually, the perception of these materials affects its implementation in use as the different tones of wood seem more welcoming and natural because of the warmer colours (Schittich et al, 2002).

The acoustic properties are important in order to experience the phenomenological spirit of a church as the users that make the choir are heard through the building depending on the arrangement of the interior the choices can be to make the sound clearer to allow for better communal service or to reduce the sound travel to allow for better individual and private prayers (Fig. 9) (Bradley & Ronsse, 2016).

Figure 7- Le Corbusier's iconic Ronchamp Chapel, located in Ronchamp, France, photographed by Angel (2019)

Figure 8- Wooden benches, photographed by Spratt (2017)

Figure 9- Choir performing, photographed by Onaeko (2020)

Page.6

Mosque Architecture;

However, the phenomenological experience in islamic religious architecture like mosques begins before the user enters the space as in almost all spaces shoes are to be removed in order to maintain cleanliness and this in turn allows the user to experience the materiality of the floor directly (Fig. 10). Whether it is the cold surface of a concrete or wood floor or the warm brush of fabric in the carpet (Stegers, 2008). This firsthand experience of the space can create a deeper level of intimacy as all users of the prayer hall have no shoes and are on equal footing to one another. This relation to each other creates a bond between users and the phenomenological experience can be akin to family under the shelter of God. Light plays an important role in the experience of the prayer hall space in islamic religious architecture as the symbolism of light is pure and darkness is evil, leading to many mosques to feature a variety of methods to increase the presence of natural daylight to increase this phenomenological and spiritual connection to God (Fig. 11) (Arel, & Öner, 2017). The acoustic properties of the prayer space is also important to the phenomenological experience as the call to prayer often requires amplification and material choices can manipulate the sound to become louder and echo throughout the architecture of the mosque to signify the important attendance to prayer for believers (Fig. 12) (Karaman, & Güzel, 2017). This effect on the sounds in the sacred space can create an outworldly experience as the call draws the attention of the user to explore and find its source which itself is the prayer experience.

In both islamic and christian sacred structures the phenomenological experience often uses different aspects in the design of the interior space but their explanation of the feeling is similar as both see the simulation of the senses as divine intervention and link the emotions attached to the spiritual element of the space. Even in contemporary religious spaces, it is clear that these phenomenological elements of the space being light, shadows, acoustic, temperature and levels of intimacy remain an important aspect for the user experience. This leads to analysis of the space to be layered to create a complete otherworldly phenomenological experience fitting for the building's occupational use as a connection between God and mankind.

Figure 10- Man taking off shoes before entering a mosque, photographed by Ivashchuk (2019)

Page.7

Figure 11- Light entering through dome, Blue Mosque located in Turkey, photographed by Ashraf (2018)

Figure 12- Minaret with a speaker used to recite the call to prayer, photographed by Chawaak (2020)

Chapter 2-

Page.8

Theories of phenomenology applied to religious spaces

The importance of creating an atmosphere is fundamental in the phenomenological experience of any space including that of religious importance.

According to the book, ‘Architectural Atmospheres: On the Experience and Politics of Architecture’ (2014), the creation of this atmosphere begins immediately after the user enters the structure using each key sense that is triggered by the surroundings as well as how well the building is complemented by the context of the site. This is because a building which doesn’t fit with the site context can take the user away from the phenomenological immersion before they even enter and as such many contemporary buildings struggle with further profits instead in this way design can act as a means of storytelling being able to guide users down a specific route (Fig. 13). Additionally, the basis of a phenomenological designed building is experience and many theorists including French philosopher Gaston Bachelard (1885-1962) who wrote ‘The poetics of space’ which explains that architects need to design spaces based on lived experience as a opposed to the need to fulfil a quota, thereby it entrusts the design to create positive experiences that in some way invoke users to think of the space as more than just a shelter and in the case of religious structures combining the spiritual with the physical and emotional psyche of users (Bachelard & Jolas, 1994).

The way to create this unique phenomenological experience for the users however is through space. Which can become individualised and can entirely be based around an architect's own judgement of the importance of certain factors to include, increase or reduce to create the desired effect for a particular mood or atmosphere (Aravot, & Neuman, 2009). When looking at religious and sacred structures the phenomenological experience of these buildings becomes another layer within the mind of a believer of that particular faith, however through structure, design and arrangements those who hold little or no faith in the presence of a greater power can also be moved and begin to manifest their own ideas and place within the world.

The manipulation of visuals is a key element to experiencing a space, because the eyes help users understand a space, although it isn’t the only sense that is used when a user experiences a building. Mallgrave (2018) discusses that the feeling for space and form can be determined by the elements within a structure, an example included was staircases because as the user approaches the stairs their brain triggers a certain reaction to lift their foot, grab the handrail and continue to climb (Fig. 14). Therefore visuals become the first point the brain uses to understand a space.

However, along with visual indicators the way to experience a space is through touch as once light within a space is gone users often use their hands to feel the wall, floors and objects around them. This materiality aspect should be considered as it can greatly affect the user by creating conditions such as using concrete for walls. Concrete not only acts as a heat conductor, therefore altering the temperature of the space but also the reflections of light and creation of shadows (Fig. 15). The acoustical properties are also affected by the material fabric of a building, often architects choose materials for specific ambiances they try to create (Augoyard & Torgue, 2006). An example of a mosque being designed to echo the sound of the call to prayer to signal believers the join (Fig. 16). Thereby placing an importance on what material is used and for what purpose to create an atmosphere or to convey a message to users within and around the space.

Page.9 Figure 13- Zumthor's Bruder Klaus Field Chapel; Environment used

Figure 15- Person climbing stairs, photographed by Tauss

as a storytelling device, photography by Ludwig (2011)

(2014)

Figure 15- Concrete structure reflecting light, photographed by

Figure 16- People praying in a mosque in Dubai, photographed

Odunsi (2017)

by Amin (2019)

Page.10 Furthermore, light and shadows dictate every space phenomenologically because of their importance to understand spatial arrangement. Spaces with a lack of light often have users searching for more light, spaces with too much light have users looking for shade therefore it's important for architects to consider the effect on users when considering how much light is needed to fully understand and appreciate a space (GERTZ, 2010).

Light is affected and manipulated by many elements within a building such as interior materials reflecting and absorbing, space size as enclosed spaces would need significantly less windows than larger spaces and the amount of windows/artificial light sources used throughout the building (Fig. 17) (Unwin, 2013). In religious structures, it would be more favourable for architects to design a space with natural sunlight present because of the spiritual connection between light and the presence of God. Moreover, the sunlight and weather itself is controlled by nature and to those who believe it is controlled by a higher power therefore spaces which are to be naturally lit by the sun rays are left to be controlled by God (Stegers, 2008). Therefore, light itself can be used as a tool by architects to guide users down a certain pathway by using shadows to block out areas which are not supposed to be accessed, those who believe can akin to being led by God's light (Fig. 18).

These elements in design all affect the psyche of users within and around the space and in designing a space in a religious context. Increasing the spiritual presence of God by manipulating certain elements can create a positive phenomenological experience of the religious space and depending on the idea behind the design from the architect can convey a message for those users who experience it.

Figure 17- Manipulation of light sources, photography by

Figure 18- Using nature can enhance the phenomenological

Chow (2021)

experience, photography by Dent (2020)

Chapter 3-

Page.11

Visual building analysis: Church of the Light

Architect Tadao Ando’s ‘Church of the Light’ was constructed in 1989 for a small community of christians in Ibaraki, Osaka prefecture in Japan.

The structural material of the church is made from reinforced concrete, a signature material used in Ando’s designs (Drew, 1996). The main feature of the iconic structure is the symbolic cross located in the church behind the altar space that becomes the building's main point of focus for the viewers (Fig. 19). In contrast to traditional churches during the gothic or baroque periods in the west, in which the exteriors and interiors were heavily adorned with buttress, gargoyles and stained glass imagery (Stegers, 2008). Additionally, Ando’s use of the christian cross from which Jesus was crucified as a useful symbol for warmth and comfort viewers begins to appreciate the sacrifice and see the everlasting glow of light from the empty cross as love and forgiveness. As symbols used in walls, objects and structure in sacred spaces act as a link between earth and divine to provide an indication that the space the user is entering has spiritual significance (Coomans, 2012) . Furthermore, in many christian churches and other religious structures the focus point of the altar is always clear to the viewer as a main point being either centered or placed in a higher position, although Ando’s church of the light pushes the altar to one side (Stegers, 2008). This alteration can be seen as an attempt to bring more attention to the nothingness of the space as the cross’s light and glow is uninterrupted (Fig. 20).

The Church of the light’s floor plan is simplistic and features a rectangular box shape as the main space for gatherings, interestingly the altar space is featured on the lowest point in the church's elevation as the slope downwards leads to the altar (Baek, 2009). The floorplans emphasis on spatial emptiness of the interior and the overarching parallel concrete walls which create the arrangement of the church (Fig. 21).

Unwin (2013) discussed walls being one of the basic elements of architecture as a divider of space which can be viewed as a barrier and often implies negative quotations as it restricts freedom of movement. However, Andos idea for the creation of these walls was opposite to Unwin as it stemmed from the ‘Shintai’ of the viewer as in the minds of those who view the structure, the walls begin to become the least important as they lose themselves within the nothingness of the surrounding space (Baek, 2009). Thus creating a positive bodily and sensational experience for the viewer.

Figure 19- Crucifix in the Church of the

Figure 20- Alter space isn’t central which is unusual for traditional standards,

Light, photographed by Yang (2021)

photographed by Bergmann (2006)

Page.12 Since the 1950s, concrete has been a prefriencial choice for Japanese architects as a country which has experienced many natural disasters.

Simple geometry forms serve both practical as well as aesthetic uses for Ando (Phillips, & Yamashita, 2012). The material choice of a specialist reinforced concrete shell for the Church of the light is done to allow light to explore along the surface of the interior throughout the different times of day (Drew, 1996). Unwin (2013) explains light manipulated religious buildings to have specific character. Natural light is more favourable not only for better sustainability but also it leaves the dictating of the atmosphere up to chance, worshippers in the church would more likely see bright lighting as a blessing therefore creating an atmosphere in awe of God. The tall concrete walls enclose the space and create a level of intimacy between the user and God, often concrete can be seen as cold and dull however the church of lights arrangement of space and reflective lighting creates a warmer, comforting atmosphere (Fig. 22). The sight of the smooth concrete wall would invoke users to touch and explore as the first point of contact the smooth wall is cold because of lack of heating and as the hand of the user moves further along fatefully being shined on by the light of the significant cross in the centre which provides them with warmth sunshine and invokes the thought of comfort within the divine presence of the symbolic christian symbol (Pallasmaa, 2012). The careful manipulation of light within the church can stem from a form of ‘sabi’ as the cross doesn't provide enough light for the entire space leaving parts lacking light in comparison (Fig. 23) (Tanizaki, 2001).

Figure 21- Floorplan showing journey, site plan and Ando’s original sketches, draw and edited by author (2021)

Page.13 Church of the light is minimalist and unadorned with any signs of features that a western viewer would associate with Church architecture. This gives Ando’s ‘Church of the Light’ a distinct feel and the roots of its design idea is based in ‘Shintai’ known as the Japanese notion of body. For example, being that the Church of the light doesn’t have any mechanical heating or air conditioning this creates an experience as the viewer because throughout the winter the only source of warmth and comfort would come from the distinctive glow which emerges from the slits in the symbolic cross (Aravot & Neuman, 2009). This leads the viewer further in as they begin to intertwine and link the holy with the comfort of the experience in the church. The journey begins at the entrance at which is situated on the northeast side which leads the user down an ‘S’ movement along an angled wall (Drew, 1996). This movement creates a build-up and tension as the user's only comforting sign is the hard concrete wall that leads further deep into the unknown. Once past this opening the natural light slowly fades and confusion settles in, a doorway passage that is the entrance to the main prayer hall of the church is seen with the sudden glow of light that can be seen coming from the steep side of the hall.

Experiencing this change in levels as the user gets closer to the source of light can make the user feel small as the light begins to overpower and shine bright in one direct zone (Fig. 24). Therefore, Ando’s way of creating the presence of God in this interior is for the user to feel and observe nature and witness the natural element of light created by God to light the interior for itself.

Figure 22- Person observing the cross, photographed by

Figure 23- Cross sketch, drawn by author (2021)

Wang (2021)

Figure 24- Section showing light, drawn by author (2021)

Chapter 3-

Page.14

Visual building analysis: Al-Aziz Mosque

The Al-Aziz mosque is located on the Al Reem Island, Abu Dhabi in the United Arab Emirates and was designed by APG Architecture and Planning group in 2015 (Lucem GMbH, 2022). Contextually, Abu Dhabi has experienced rapid amounts of growth due to the discovery of oil reserves and the cityscape has changed exponentially over the last century (Franssen, 2009). The architecture reflects this through the use of more modern building construction methods and technology, Al-Aziz mosque features a geometric shaped dome and minret which stands out from other mosques as contemporary (APG, 2018) (Fig. 25). The mosque is constructed using a concrete facade walls which features the ninety-nine names of God in Islamic Arabic calligraphy that lights up using a hidden LED light transmitting optics system within the structure (Sebambo, 2015). This way of using light and structure adds another layer to the mosque's complex phenological experience because the building itself becomes an active light source (Fig. 26). Furthermore, in islam God gave the world to humans in a perfect form however corruption has destroyed the original image, in this way mosques try and replicate the perfection through their floorplan, art and structure (ERZEN, 2011). The Al-Aziz mosque upper ground floor plan displays a large prayer hall with an additional residence for the imam and mouazzen (the person who recites the call to prayer) on the north side, whereas on the south side is where the minaret located which is the large tower from which the mouazzen recites. Above features the women's separate praying facilities and below on the lower ground floor contains a secondary prayer hall alongside the washing and restroom facilities (Fig. 27). This is commonly featured in many mosques because the need to clean oneself before praying is a crucial element is islam, this experience spiritually rids the user of earthly impurities before the prayer and is vital for the phenomoglocal aspect as it begins the path to enlightenment, previously water fountains were used although modern methods favour it purley for an aesthetic value (Stegers, 2008).

Furthermore, for both women and men shoes must be removed before entering the prayer hall, this experience for the user creates a more intimate feel for the spaces in which they gather for prayer (Stegers, 2008). As with all mosques the prayer hall has to face Mecca, this orientation can create harmony between the users as they know that as prayer begins everyone is all facing one direction (Stegers, 2008). As islamic prayer is usually conducted as a group with an imam as the lead reciting prayer, this creates a unique atmosphere within the interior space as the only sounds that should be heard is the prayer itself. The feeling of the floor materials through the user's feet first hand already creates a sense of space and awareness. Example being the concrete floor panels directly outside the prayer hall being cold and once the user enters the hall their feet touches the warmer fabric finish of the floorboards. This difference in materiality creates a division threshold within the space and phenomenologically in the user's mind, the warmth and comfort of the prayer hall may encourage more users to stay and pray spiritually strengthening their connection with God as the cold concrete disways them from leaving so suddenly (Fig. 28) (Unwin, 2013).

Figure 25- Al-Aziz Mosque at night, photographed by APG (2015)

Page.15

Figure 26- Concrete wall with calligraphy close up, photographed by LUCEM (2015)

Lower Ground Floor

Upper Ground Floor

First Floor

Figure 27- Floor Plan of Al Aziz Mosque, produced the APG (2015)

Page.16 Additionally, the architects designed the mosque to become more than just a shelter for prayer and instead wanted to create personification of the words from God that take the user away from the materialism of the outer world (AlFozan, 2019). In this way, the wall with the LED calligraphy becomes alive whilst the user reads the words of God as they move alongside it. The bold contrast between the cursive writing on the walls contrast with the modern geometric shape of the mosque features such as it’s dome and minaret gives the feeling of conflict and harmony for the user observing because stylistically although both are different, they serve the same purpose to be icon guides for users on the path to prayer (Fig. 29). Unwin (2014) points out that the architectural feature of a wall has the power to guide users in a specific direction, combined with his idea of a wall being a space where images, words and art can be projected. Al Aziz mosque creates a wall that serves a multipurpose function to guide users to prayer and to display and awe them with the lighting of God's names (AlFozan, 2019). This itself can serve as a reminder to those users who walk past to be mindful they are entering a space with spiritual significance and thus mentally it can affect the user to behave in a certain way because of these indicators.

The Al Aziz mosque creation of the personified wall gives a constant reminder for those who view God's presence through his words. Along with the many aspects in mosque architecture such as the removal of footwear, this experience allows for users to have more intimacy for different textures and knowing that every individual has to follow the same routine can provide a sense of solidarity for the user. Therefore, storytelling through the architectural design of the space and enlightened atmosphere is created by using the messages and texts from God and the user begins to understand the purpose of prayer through their experience in the space.

Figure 29- Elevation of Al Aziz Mosque, produced by the APG (2015)

Figure 28- Interior main prayer hall of Al-Aziz Mosque, photographed by APG (2015)

Conclusion-

Page.17

In conclusion, the phenomenological experience within religious structures is created by using and modifying elements within and around the building to create a certain atmosphere that is individual to the user experience. Believers of a faith would undoubtedly link the sensations and feelings created by the space to a higher power, yet for those who don’t believe in God the space and experience can feel equally as important.

As shown from the Church of the Light by Ando, a modern religious space can be minimalist and still retain aspects related to the overwhelming presence of God using both natural light and shadows to create an intricate interior that entices users in. On the other hand, Al-Aziz mosque architecture and design focuses on bringing the written words of God alive to as a personification, making users reflect on themselves and forget about the worldly matters whilst reading the calligraphy that leads them around the sacred space. Although these two studies contain aspects in their design related to phenomenological experience, the differences between them both is directly related to their ideology of what a spiritual space should feel like. However because the experience of these spaces is decided by the individual user, the atmosphere resonating may differ from the architect's original idea.

As a result, the changes in ideas throughout the different religions to how these spiritual spaces should be design combined with clashing of a global culture, modern contemporary religious structure become more individualised representing not more so an idea of morality and a place to show vulnerability but rather a place to connect and unite with many different people gathering in one space. Architects that design these spaces know how manipulating the natural elements such as light can create a positive experience especially in a place where the sacred presence of God should be on display for worshippers to see. Therefore the positive phenomenological experience and unique perspective of these spaces becomes extremely important as it bridges the gap for some users to feel the presence of God within them, knowing that in this space spiritually God is listening to their prayers. For those who do not believe in God however, the space may become more important as a way to understand and appreciate others' beliefs and values with themselves growing and changing from experiencing the space.

Figure 30- Hands reaching for light, photographed by I.am_nah (2018)

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Image Source List:

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Cover- Handing reaching for light source, photography by Leithang. C. (2017) https://unsplash.com/photos/NmPpz1jA_JE

Figure 1- Church of the Light, photographed by Dyxhoorn. L (2009)

Figure 2- Al-Aziz Mosque, photographed by APG (2015)

Figure 3- Contemporary example: Church of Saint Maria Goretti, located in Mormanno, Italy, photographed by Malagamba. D (2021)

Figure 4- Traditional Gothic-style church, photographed by Staz. N (2021)

Figure 5- Alter space of a church, photographed by Eckstine. J (2019) https://unsplash.com/photos/nkUioaswtvM

Figure 6- Stained glass windows, photographed by Martin. J. F. (2019) https://unsplash.com/photos/kZjBucSSj2s

Figure 7- Le Corbusier's iconic Ronchamp Chapel, located in Ronchamp, France, photographed by Angel. R. G. (2019) https://unsplash.com/photos/Aebh700KCqc

Figure 8- Wooden benches, photographed by Spratt. A. (2017)

Figure 9- Choir performing, photographed by Onaeko. J. (2020) https://unsplash.com/photos/-h9FnJYiJPE

Figure 10- Man taking off shoes before entering a mosque, photographed by Ivashchuk. S. (2019) https://www.shutterstock.com/image-photo/shiraz-iran-november-2019-man-takes-1591000384

Figure 11- Light entering through dome, Blue Mosque located in Turkey, photographed by Ashraf. S. (2018) https://unsplash.com/photos/ULLAHtAzvog

Figure 12- Minaret with a speaker used to recite the call to prayer, photographed by Chawaak. A. (2020)

Figure 13- Zumthor's Bruder Klaus Field Chapel; Environment used as a storytelling device, photography by Ludwig. S. (2011)

Figure 14- Person climbing stairs, photographed by Tauss. R. (2014) https://unsplash.com/photos/jVwb9LjxJ08

Page.22 Figure 15- Concrete structure reflecting light, photographed by Odunsi. O. (2017) https://unsplash.com/photos/S6XUgeCOosQ

Figure 16- People praying in a mosque in Dubai, photographed by Amin. R. (2019) https://unsplash.com/photos/i1bfxi1cFBY

Figure 17- Manipulation of light sources, photography by Chow. W. (2021) https://unsplash.com/photos/C5y5N7apuv8

Figure 18- Using nature can enhance the phenomenological experience, photography by Dent. K. (2020) https://unsplash.com/photos/1xSiUiFQJvk

Figure 19- Crucifix in the Church of the Light, photographed by Yang. S. (2021)

Figure 20- Alter space isn’t central which is unusual for traditional standards, photographed by Bergmann (2006)

Figure 21- Floorplan showing journey, site plan and Ando’s original sketches, draw and edited by author (2021)

Figure 22- Person observing the cross, photographed by Wang. L. (2021) https://unsplash.com/photos/cZ3XkZM4tBA

Figure 23- Cross sketch, drawn by author (2021)

Figure 24- Section showing light, drawn by author (2021)

Figure 25- Al-Aziz Mosque at night, photographed by APG (2015)

Figure 26- Concrete wall with calligraphy, photographed by LUCEM (2015)

Figure 27- Floor Plan of Al Aziz Mosque, produced the APG (2015)

Figure 28- Interior main prayer hall of Al-Aziz Mosque, photographed by APG (2015) https://7d705ad8-5b29-47ba-a414-87f6ce0b9cb9.filesusr.com/ugd/65f073_bb9ba8019c8c4b4bb11d73536de5395c.pdf

Figure 29- Elevation of Al Aziz Mosque, produced by the APG (2015)

Figure 30- Hands reaching for light, photographed by I.am_nah (2018)