Architectural Illustrated Essay (Drawing History)

Illustrated Essay Comparative Analysis of Buildings, Space and Events Question A: Worship

Chai Xin Yi 22559354

ARCT1010 DRAWING HISTORY 2018 Amber Martin October 19, 2018

Abstract In this paper, places of worship are investigated to determine whether religious observances reflect the rituals that take place in them, and sometimes these rituals do not influence the architecture. The buildings that are studied include Temple of Horus at Edfu, Egypt (c237-57 BCE) and Hagia Sophia, Istanbul/ Constantinople, Turkey (c532-537 CE). These two buildings are compared in terms of its articulation, shape, site and structure. The analysis from these diagrams would then inform the relationship between the tangible aspects (building’s architecture), and intangible aspects (rituals happening). Thus, the drawings and research infer that buildings are used for religious purposes, but they can also change the way rituals are being understood. There is a deeper level of understanding the connections between men (visitor), space (worship) and place (building).

Buildings of Worship Reflecting Rituals The architecture in places of worship has religious observances that reflect the rituals that take place in them. There are forms in the architecture studied that influence the functions within its space.

However, there are also cases where the forms do not have a direct impact on the functions. In the realm of worship, there are several themes to be studied, such as the buildings’ context, symbolic meaning, the relationship between ‘God-Given’ and imagery of heaven. Both Hagia Sophia and Temple of Horus at Edfu are compared to see if they successfully reflect the rituals in their architecture. With an understanding that there is a strong correlation in buildings’ culture, history and stakeholders, this study aims to gain new insights into how its architecture is depicting rituals during respective time periods.

History Context The Hagia Sophia (in Greek, means holy wisdom) was built in the years 532-537 at the commission of emperor Justinian I. It was both the cathedral and state church, and was highly regarded as part of the wonders of the world because it is the first major building in history with a freely suspended dome, which is supported by four piers. Sultan Mehmet Fathi (‘the conqueror’) turned it into the main mosque of the Ottoman world. Later in 1934, President Kemal Atatürk turned it into a museum.1

Fig1, 2. Edfu, Temple of Horus. (From Beato, Antonio)

The Hagia Sophia (in Greek, means holy wisdom) was built in the years 532-537 at the commission of emperor Justinian I. It was both the cathedral and state church, and was highly regarded as part of the wonders of the world because it is the first major building in history with a freely suspended dome, which is supported by four piers. Sultan Mehmet Fathi (‘the conqueror’) turned it into the main mosque of the Ottoman world. Later in 1934, President Kemal Atatürk turned it into a museum.2

1

Resimler Sergiden, The Geometrical Design of the Saint Sophia in Istanbul. (Vol. 0. Peter Lang, 2005), 03.

2

Resimler Sergiden, The Geometrical Design of the Saint Sophia in Istanbul. (Vol. 0. Peter Lang, 2005), 03.

Building’s Symbolic Meaning

Fig. 3. Supporting functions of the dome construction.

Hagia Sophia symbolises peace, harmony and religious tolerance. As this building sits in Istanbul, Turkey, it is the only country in which Islam is not the state religion. This is a good representation for balance because the Muslims, Jews, and Christians have been living together for more than a century. “It is an important symbol in Istanbul because it is a meeting point of the world’s religions. The walls of Hagia Sophia represent a blend of Islamic arts and symbols of Christianity. Hagia Sophia was a Church, a Mosque and today it’s a museum.”3 The walls of Hagia Sophia represent a blend of Islamic arts and symbols of Christianity. Hagia Sophia was a Church, a Mosque and today it’s a museum.4 In Byzantine architecture, Hagia Sophia’s existence signifies the intersection point between the ancient and medieval world as a source of knowledge.

Fig. 4. Dome’s design groundwork and mathematical study.

J. Hahn Alexander, ed., “Architecture Inspired by Faith,” in Mathematical Excursions to the World’s Great Buildings, STU-Student edition (Princeton University Press, 2012): 56, http://www.jstor.org/stable/j.ctt7shns.6 (accessed October 18, 2018).

3

4

Zooka Gooks, “Hagia Sophia: A Symbol of Peace, Harmony and Religious Tolerance.” Smithsonian.

Accessed October 13, 2018. http://www.smithsonianmag.com/photocontest/detail/travel/hagiasophia-a-symbol-of-peace-harmony-and-religious-tolerance/.

Relationship between ‘God-Given’

Above: Fig. 1. Interior of Dome of Hagia Sophia (6th Century).

(From Unesco World Heritage List, 1985)

Above: Fig. 5. Sketch section of Hagia Sophia’s construction and deformation.

There is a theory which claims that Hagia Sophia’s form came from imperial Roman tombs and it is trying to recreate the form of heaven, a dome, above the tomb of the dead person. “The sunlight emanating from the windows surrounding its lofty cupola, suffusing the interior and irradiating its gold mosaics, seemed to dissolve the solidity of the walls and created an ambience of ineffable mystery,” writes researcher Victoria Hommond.5 Light streams in from above into a centralised space, a walking space that follows around the dome. Hagia Sophia combined a dome with a linear processional plan. The entrance from a forecourt, central dome and semi-domes are architectural elements intended to reinforce a sense of mystery and atmosphere.

5

Owen Jarus, “Hagia Sophia: Facts, History & Architecture,” Live Science Contributor, March 1, 2013, accessed October 17, 2018, https://www.livescience.com/27574-hagia-sophia.html.

In terms of scale and proportion, the intentions of building Hagia Sophia this big was to look like heaven. When visitors enter the building, they are being transported imaginatively into a celestial realm, heaven. The drawings and perspectives of Hagia Sophia evoke an otherworldly atmosphere. Hagia Sophia has uses of acoustic amplification which can echo the sounds of choirs singing to each other. The echoes within a space, light bounding off gold mosaic tiles and incense spreading through the spaces are effective queues to an individual’s sensorial experience. The bible of pictorial imageries that covers the interiors of buildings, and priests who wore costumes made of gold and silk moving through the place emit light as well. Thus, the services held will be an epiphany and avocation of paradise.6

Above: Fig. 6. Edfu, Colonnade of the Temple of Horus. (From Beato, Antonio)

Left: Fig. 7. Isometric reflection through the Temple. [Drawing scale, 1:500m]

The Temple of Horus is made up of a system of stairways and chambers which allows the façade to receive light through the slots. Two statues of Horus marks the entrance, and they paint a picture of unity portraying “Feast of the Beautiful Meeting”.7 At the Hypostyle Hall, the king or his priests used to hold rituals here and use the Library which houses sacred writings. Its walls display traditional scenes of the Temple’s foundation ceremony. Therefore, Temple of Horus’ architecture is successful regarding its wayfinding features for the visitors and spatial organization.

Nigel Westbrook, “Hagia Sophia, Istanbul/Constantinople, Turkey” (Lecture, University of Western Australia, Crawley, WA, September 14, 2018).

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7

“Ancient Egypt- Temple of Edfu,” http://www.ancient-egypt.co.uk/edfu_main_temple/.

Imagery of Heaven Hagia Sophia has two levels, the ground floor and the gallery above. In Byzantine churches, the hierarchy in floor levels suggests that people were arranged according to genders and social classes when services were held at the cathedral. The Byzantine emperor had the advantage of using the central Imperial door reserved for him, to give him the seamless approach from the narthex, passing nine doorways to the church interior.8 Meanwhile, the members of the imperial court participated in intricate religious ceremonies hosted at the sanctuary around the altar. Thus, the duality of both Byzantine church and empire are reflected in Hagia Sophia.9

Fig. 8. Partially cutaway isometric of the primary structural system. [Drawing scale, 1:500m]

8

Owen Jarus, “Hagia Sophia: Facts, History & Architecture,”

9

Alexander, ed., “Architecture Inspired by Faith,” 56.

Fig. 9. Isometric cut of Hagia Sophia to show thresholds and levels.

The dome in Hagia Sophia used a system of piers to channel its weight. It is a representation of heaven imagery and used to highlight the enormous linear space leading into the altar. Four great arches formed by stone piers support the ring of the dome (see Figure x).10 Thus, Hagia Sophia is significant because the influence and impact on the Ottoman buttressing and structural systems were inevitable. 11 The individual spaces in Temple of Horus (sees Figure x) narrate a sequential experience that an individual will go through during the ritual. The different decorations, passageways, halls and walls guide visitors on a journey to make their offerings. “During the New Year festival, Horus has carried up the ascending stairway to the rooftop; after being revitalised by the sun-disc, his statue was returned to the sanctuary via the descending stairway.” 12 There is a sense of metaphorical importance and physical hierarchy in a manner that Temple of Horus responded to the festivals and rituals happening in each space.

10

Westbrook, “Hagia Sophia, Istanbul/Constantinople, Turkey”.

11

Mark Robert, and S. Cakmak, Hagia Sophia from the Age of Justinian to the Present. (Cambridge University Press, 1992), 199-200.

12

“Ancient Egypt- Temple of Edfu,” http://www.ancient-egypt.co.uk/edfu_main_temple/.

Fig.10. Temple of Horus at Edfu Plan. [Drawing scale, 1: 500m].

Fig. 11. Temple of Horus at Edfu Section. [Drawing scale: 1:500]

However, the imagery of heaven meant something different for the people in the Temple of Horus. Today, the Horus-myth of Edfu have various interpretations by historians as it “reflects a historical- political rather than a cult feud”.13 Although there are Egyptian symbols as evidence of narrating these stories, people have their understanding and unique ways of interpreting works in the realm of worship. Thus, this is an instance where the architectural form does not influence the rituals that take place in them.

“The Interpretation of the Horus-Myth of Edfu on JSTOR,” : 85, https://www.jstor.org/stable/3855067?seq=1#metadata_info_tab_contents. (accessed October 18, 2018).

13

Conclusion In both Hagia Sophia and Temple of Horus, the architecture, decorative program, intended interior effect of the building and scaffolding work well together to bring out the experience of rituals that take place in it. The whole effect was a kind of radiant richness in which light and shadows being cast off surfaces create a sensation. There are the intangible aspects of these buildings such as the communication between the “worlds of the faithful and the worlds of the sacred,� which is beautiful in its own right because the lives of these buildings have not ended. In today’s context, Hagia Sophia is now a museum and Temple of Horus remains as an important monument. Although both buildings were built to be places of worship, they are still successful regarding reflecting rituals in them because poets and historians still write about its beauty in architecture and worship of God. Thus, the continuous lives of both buildings prove that people who make prayers do relate to the place, and this is what makes the places of worship powerful.14 Although both buildings worship different gods, there are similarities and differences in the extents that the architecture responded to the rituals taking place in the spaces within. Both Hagia Sophia and Temple of Horus acted as a meeting point in the worlds of religion, and connection between God and men. There is an understanding that men give meaning to these spaces because of the activities that are happening, which relates to the place and time in which the architecture and beliefs were formed. Hence, there is an inseparable connection between men, space and place, and how rituals are being reflected in the architecture.

14

Mark Robert, and S. Cakmak, Hagia Sophia from the Age of Justinian to the Present, 194.

Image References ARTstor. “Edfu, Colonnade of the Temple of Horus.” Artwork. Accessed October 13, 2018. https://library-artstororg.ezproxy.library.uwa.edu.au/#/asset/SS34144_34144_15629087;prevRouteTS=1539409893273.

“Interior of Dome of Hagia Sophia (6th Century) (Unesco World Heritage List, 1985), Istanbul, Turkey | Bridgeman Images: DeAgostini Library - Credo Reference.” Accessed October 17, 2018. https://search-credoreferencecom.ezproxy.library.uwa.edu.au/content/entry/bridgemandeag/interior_of_dome_of_hagia_sophi a_6th_century_unesco_world_heritage_list_1985_istanbul_turkey/0.

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