Religions Through Architecture

Hala Dardir

Portfolio 2024

Religions Through Architecture

Borobudur, Yogyakarta Indonesia 800 CE

Design Concept As the architect of Borobudur, I envisioned a monument that wouldn't simply house Buddhist teachings, but embody them. It guides the visitor on a journey towards spiritual awakening. Here's how the design facilitates a spiritual journey: Each tier of the nine tiers signifies a higher plane of existence, culminating in the central stupa symbolizing enlightenment

The temple's architecture beautifully embodies the essence of Buddhism. Its design, reminiscent of a mandala, and the three levels symbolizing Buddhist cosmology, effectively convey and achieve the spiritual principles of the faith.

Floor Plan (The temple is designed to look like a mandela)

First Realm (kamadhatu): Desire Second Realm (Rupadhatu-Form): They go up in a clockwise path. The soul has been purged of all desires. The people start to see the light of truth Third Realm (Arupadhatu- formlessness) The circular form represents the eternity without beginning and without end, a superlative, tranquil, and pure state of the formless world. They finally achieve enlightenment.

Iconic Dome (untouched)

Minarets that were added during the transition

Hagia Sophia, Istanbul, Turkey, 532-37 CE

Design Concept As the architect of Hagia Sophia, my vision is to create a monumental structure that embodies the divine and unites the faithful through its architectural grandeur.

Hagia Sophia will be a beacon of spiritual inspiration and religious significance, blending innovation with tradition to create a timeless masterpiece.

Religious significance ( 2 religions: one place) Christianity: Hagia Sophia was built to serve as a cathedral which is seen in the floor plan. (The central nave, flanked by aisles and galleries, will create a cross-in-square plan, symbolizing the union of heaven and earth.)

The architecture style of the cathedral is byzantine architecture.

Islam: when Islam became prominent in Turkey, some changes were made to Hagia Sophia to change it to a mosque.

A mihrab (prayer niche) was installed in the qibla wall, indicating the direction of Mecca.

Minarets was added to the structure, enhancing its skyline and serving practical and symbolic purposes.

The byzantine architecture remained untouched however Islamic calligraphy was added featuring verses from the Quran and the names of Allah and the Prophet Muhammad.

Great Mosque of Damascus, Syria 715 CE

Design Concept As the architect of the Great Mosque of Damascus, my vision is to create a sacred space that reflects the grandeur of Islamic architecture and serves as a unifying center for the Muslim community. This mosque will not only be a place of worship but also a symbol of the Islamic faith's artistic and cultural achievements.

Key Features The mosque features a vast hypostyle hall, characterized by a forest of columns supporting the roof. This design will create an expansive and open space for prayer, allowing large congregations to gather and worship together. The hall's simplicity and uniformity will symbolize the equality and unity of all believers before God. The interior and exterior of the mosque will be adorned with intricate geometric patterns, floral designs, and calligraphic inscriptions from the Quran.

From temple to church to mosque Was a temple for the roman god Jupiter (the columns used in the mosque are corinthian) Turned into a church in the byzantine era. (can be seen in the floor plan structure (nave, aisle, etc..)

During the umayyad period, the church was turned into a mosque but the structure was left as it is and an extension was added (courtyard).

Romanesque, Abbey of Fontenay, France, 1139-47

Design Concept As the architect of the Abbey of Fontenay, my vision is to create a monastic complex that embodies the principles of Romanesque architecture and reflects the spiritual and communal values of the Cistercian order. The design will prioritize simplicity, functionality, and harmony with the natural surroundings, fostering an environment conducive to prayer, work, and contemplation.

Interior shot showcasing the barrel vault ceiling and the high ceiling windows

Key Features The abbey's design will support the Cistercian emphasis on community and work. Communal spaces such as the refectory, dormitory, and chapter house will facilitate daily monastic routines, while workshops and the scriptorium will provide areas for labor and study.

Church structure: nave, aisle, apse,

Decorative elements will be minimal and purposeful. The capitals of columns may feature simple, stylized carvings of biblical scenes or natural motifs, aligning with the Cistercian preference for modesty and focus on spiritual contemplation.

Floor Plan

High Gothic, Notre Dame De Chartres, France, 1194-1220

Design Concept As the architect of Notre Dame de Chartres, my vision is to create a cathedral that exemplifies the heights of High Gothic architecture, embodying the spiritual aspirations and artistic achievements of the medieval Christian faith. The design will integrate structural innovation, aesthetic magnificence, and symbolic richness, creating a sacred space that inspires awe and devotion.

Key Feature The church follows the same structure as all churches based on the floor plan which takes the shape of a cross.

Gothic architecture is implemented in the church to follow the architecture style of the time. this will be achieved through towering spires, pointed arches, and ribbed vaults.

Large stained glass windows will flood the interior with colored light, creating an ethereal atmosphere that represents divine illumination.

Floor Plan

Flower stained glass windown Front Facade