Wall & Belief in Venice

WALL & BELIEF IN VENICE Name: Cheung Hoi Ling Esther Course: Architecture Module: DESN 30150: Architecture in Context 3 Date: March 2019 Word count: 9873

1

Introduction

1

2

Literature Review

5

3

Methodology

6

4

Definitions

7

4.1 Wall 4.2 Belief/Believe 5

CONTENT

9

Wall: Sacred and Profane

5.1 Religious teachings

5.2 From Religious to Cultural

5.3 Dignity & respect

6

Wall: The Power of protection

Protection & security

Lagoon: Disparity on Protection

Challenging the notion of safety and security

Overprotection & its influence

7

Wall: Visual aesthetics

Configuration of the interior walls

The Redentore’s Façade

23

33

Scenographic play in theatre

8

Conclusion

45

9

Glossary

48

10

Bibliography

49

11

List of figures

51

12

Full List of materials

53

13

Appendix

55

Importance of Wall & Belief Walls are one of the most common architectural elements we encounter in daily life, no matter in indoor or outdoor. Belief we hold is the underlying guide of our thinking and actions that we practise every day, both consciously and unconsciously. They both play a crucial role in our daily life, one explicitly expressed as on materials, another

1 INTRODUCTION

abstractly signifies as thoughts. Despites their opposite essences, there are connections between two subjects that are rarely explored but essential to appreciate. Their fundamental relationship can be traced from religious aspect to social implications, even to individual expressions.

Walls are the monumental surface that are evident for the representation of common beliefs and values as well as the personal thought, like a materialised canvas expressing ideas of its creator.

At the same time, its presence signified different notions that can be comprehended subjectively. They are the civic approach in communicating the quality of space and the stimulator of psychological effects imposed on people.

By understanding the wall and its impacts, one can bridge them with underlying believes, that is, become the key motivation of its rooted meaning. Therefore, they are powerful means in symbolising ideologies and values. Religiously and culturally, walls are the mean in distinguishing the scared and the profane. Spatially and psychologically, it is also a strong divider with arguable effects, giving a sense protection and security or a feeling of separation and restriction.

Aesthetically, walls can expand beyond flat surfaces and provoke visual experiences and interpretations. By focusing on these aspects, the discussion opens new insight to the meaning this architectural element.

1

Venice as the context

Wall & knowledge

Venice is a unique context for the ground of the discussion due to the richness

The recognition of walls as the physical representation of belief can develop

of its history. It is the foundation for the development and transformation of

into knowledge, imposing a role to the wall as the educator. Wall tells stories

various architectural styles in relation to the belief they communicate.

of the past and of the mind of the creator. The physical built environment exposes clues and information of its underlying meaning and through

Another noticeable feature, water, that is the lagoon in Venice, plays

mindful observations and analytical mind, one can acquire knowledge

a significant role as the core characteristics of its context, giving new

within it (Dretske,2000).The practice develops independent judgements and

experiences and observations to the city as an image. This leads to a

interpretations which possibly forms part of an individual’s belief, the core

remarkable way to understand how the aesthetic of walls are essential in this

values that one holds. As both belief and knowledge are the metaphysical

context.

matters an individual possesses, they work simultaneously in sensing and perceiving the external physical world. As a result, wall is the simulator from

A particular area in Venice, the Arsenale, is also the one of the subjects of

the immediate contact of the environment, contributing to the formation of

discussion as it is a district framed by walls, separated from the rest of the

knowledge. Knowledge is changing constantly according to the experience

city. Experiences and historical meanings raise potential conversations on the

to the sensible existence. It is, therefore, essential to stress the importance

functionality and impression of wall to an area and to the city.

of the metaphysical knowledge gaining state and the physical matter one interacts. Hence, by exploring the topic through bringing historical examples

The city is also the host of architectural biennale, gathering countries and

and contextualising cases in Venice forms the basis of the discussion between

groups all over the world to participate in the exhibition under a unified

the physical wall and the cognitive belief and their role in educating.

theme. Free space, the manifestation for the 2018 exhibition, provides opportunities for architectural debate and refresh ways of perceiving architecture. The German Pavilion specifically relates to the notion of wall and reveals its relation to the concept of Free space.

2

MIND MAP WALL & BE LIE F STYLES

ATTRIBUTES

VENICE

Gothic

Religious

Biennial ( Unbuilding Wall)

Renaissance

Christianity

Lagoon

Baroque

Humanism

Arsenale

Classical (Greek)

Symbolism

Churches

Persian architecture

Sacred & Profane

Byzantine

Separation

EDUCATION

Protection

Knowledge

Power & authority

Self- learning

Superior & Inferior

Questioning

Trust & Safeguarding

Application

ARCHITECTURAL TERMS Architectural principles

Facade

Ornament

Aesthetics

Elements (Floor/ columns/ walls)

3

Mind map

Structure of discussion

The mind map is to organise initial ideas of the topic by connecting key words

Before the main part of the discussion, it is essential to first define “walls”

together. It helps bringing different fields of topics into discussion, interlinking

and “belief” to give a brief idea of the subjects that continuously raised

various sources and strengthening the discourse through debating. It also

throughout the discussion. The discussion is mainly divided into three topics,

assists in structuring the contents by grouping related matters. The diagram

starting from the meaning of wall on distinguishing the sacred and profane.

(below) illustrate the linkage of topics.

Then, to its role in protection and its controversial meaning and eventually recognising its importance in visual impact and impression. Various examples are raised to support the discussion, ranging from religious to cultural, historical to recent own experiences, within and beyond Venice. It will be lastly concluded with the reconfiguration of the role of wall as the mean of communicating images, and generating knowledge, believes and ideas.

4

Start from finding personal interested topic to discussion and get familiar with the context of Venice before the visit, I began with reading books about Venice and the architectural styles. Ruskin’s Stone of Venice was the initial start, learning the special characteristic of Venice in terms of Byzantine, Gothic and Renaissance architecture.

This led to further reading on architectural styles, Wölfflin’s books Renaissance and Baroque and Architectural principles in the age of humanism. Some also specifically connect the style and Venice, such as Tafuri’s Venice and the Renaissance and Goy’s Building Renaissance

LITERATURE REVIEW

2

Venice.

Writings of Eisenman’s Blurred zone, Rowe’s On architectural Education and Wigley’s online video lecture about Architectural theories were brought into the tutorial in exploring architecture discourses and theories, inspiring the way of thinking architecture. On Reading and Books and On thinking for Oneself, some of the writings from Schopenhauer, were also reviewed as the resources of raising the issue of the mode of thinking and learning.

Readings on Wall as the topic was started with architectural principles, The architecture of Leon Batista Alberti in ten books, then went into explore other meanings of wall, An architecture notebook: wall

by Unwin is one of the initial source in configuring the role of wall.

Koolhaas’s Wall and Rowe’s The Provocative Façade: Frontality and Contrapposto further broadened my view on the interpretation on walls and façades. They inspired me in bring Belief as centre of discussion, connecting to the way of thinking and my core interest in Wall as the architectural element.

Following by the target on Wall as the topic, I read about the discussion of Khosravi’s Inhabitable Walls: The Genealogy of Islamic Sacred Space and Aureli’s Rituals and Walls which bring me to a new insight in discovering topic about sacred spaces, especially about history and religious. I followed some of their examples about Islamic religion and culture and continue reading and finding examples about ancient Greek and Islamic architecture. Moorish styles from Danby (1995) and Ornament and decoration in Islamic architecture from Clevenot & Degeorge (2000) are some of the books discussing visual religious interpretation of Islam which give explained with abundant images.

These are some of the resources that inspired me in the process of finding the topic and developing discussion. There are also a lot of other literatures I have been through that are not able to cover all in this section of reviewing. However, they are recorded in the List of Reading that can be found in part of the paper.

5

Information is based on extensive range of reading on literatures, as stated in the literature review. This is initially to understand Venice as the context and explore potential ideas for the topic. It further tightens personal argument by referring authoritative and credible sources when discussion is made. The readings are the base of knowledge to make independent judgements and ideas throughout the whole process of writing.

The discussion is also approached by traveling to Venice as a 5- day trip, aiming for a direct experience of the context. As some important architecture in Venice were introduced by the texts during the early stage of literature review, the trip to Venice targeted relevant architecture to visit, namely the St. Mark’s Basilica, and the Redentore.

Through observing and experiencing the architecture and incorporating with the knowledge absorbed in readings, analysis and personal opinions were recorded through noting, photo-taking and producing drawings and diagrams.

Ideas and arguments were further enhanced by discussing with fellow companions during the trip and with tutor to formulate and structure the arguments after the trip. With the support of drawings, diagrams and images, the topic and discussion can be communicated visually and clearly. Thoughts and understandings on the subjects are strengthened though this practice as well.

6

3 METHODOLOGY

4.1 Wall Wall, derived from the Latin word “vallum”, means rampart, earthwork or row of stakes that form the edge of a fortification (Mark, 2009). The idea of wall was particularly related to the impression of defence and security. Its role in protection is further confirmed by Alberti as wall is identified as one of the six principle elements that form buildings and he specified wall as the element erected to place coverings the complete the form of a shelter protecting its habitant from colds, wind and rains (Alberti and Leoni, 1755) Protection not only achieved as fortresses of a place but also shelters of daily living environment.

Alberti also stated that “by Walling we shall understand all that structure, which is carried up from the Ground to the Top to support the weight of the Roof, and such also as is raised on the inside of the building, to separate the apartments.”(Alberti and Leoni, 1755).

DEFINITIO NS

4

It lies the fundamental architectural function of wall, to carry the weight of roof and divide spaces interiorly. Therefore, in terms of the constructional and structural aspect of architecture, they take up a strong role in assisting how the building stands and the performance as supportive member of the building.

Further into the spatial character of wall, it denies space as it poses obstruction and interruption on free and steady movement. On the other hand, it also creates space, shaping and outline the edges of space. Walls have juxtaposing characters. They protect and acquire, include and exclude, unite and divide, provide support and impose burden (Unwin,2000). The complex notion of walls reveal that walls cannot be viewed in a single way, as depends on point of view, they might signify differently. Wall is not a simple layer of vertical element only deal with spatial formation, but a compilation of multiple meanings for spatial quality based on the effect on personal cognition.

7

4.2 Belief / Believe Theorised from ancient Greek, the concept of Belief relates to 2 basic ideas,

In such way, belief is not limited to a religious aspect but affecting all the

“Pistis”, explained as trust and confidence, and “Doxa”, refers to opinion

way in our behaviour and lives, playing a crucial role on an individual’s

and acceptance (World Heritage Encyclopaedia, n.d.). This denotes the

consciousness and intelligence. Some claimed that belief is subjected to

basic meaning of belief as a state that being confident on own’s opinion to a

rational assessments and individual perception (Dretshe,2000). Experiences

particular subject. This agrees with Peterson (2017) that Belief is the mental

and consciousness to the world affects how believes are formed. Belief does

state of a positive attitude of certainty toward a subject regardless a valid or

not necessarily indicate the truth but has the purpose of guiding actions

empirical evidence. In other words, thinking of something is real and true

as it forms the core value and thoughts of an individual (Peterson, 2017).

even when there is no validly verified foundation for the certainty of the

Thoughts, stance and opinions, all develop inside the mind, then form the

truth or realness of something. From the basic explanation of belief, it can be

driving force of actions exercising in the real world. It can therefore say

expanded in affecting the its role on religion and personal development.

that actions are based on the values formulated by one’s belief, which is a cognitive propositional attitude an individual developed toward the world he

The idea of belief is hugely related to the establishment of religion. This

experienced.

relates to the acceptance of the existence of a divine and supernatural force in the universe acting on human life (Schwitzgebel, 2015). It emphases

Philosophically, belief is closely related to epistemology, the study of

immaterialised attributes that separated from the present world. It involves

knowledge. Plato theorised knowledge as the “justified true belief”, that is

worships and obedience of power which sets the common ground among

to give evidence that the preposition is valid. It denotes belief is one of the

the faithful, shaping the core values for practices and teaching and further

conditions for the formation of knowledge. According to this relationship,

developed into its own set of customs and rituals. Bonded by the core value

it can be said that one can only know what he believes. Fail in believing

and beliefs, it allies people with relating minds. Christianity is the dominate

something preclude knowing it. Belief is therefore the base and condition

religion in Europe over the history that laid the foundation of many aspects of

of possessing knowledge and knowledge is developed under a constant

the society by influencing human minds. Similarly, to influence the people’s

modification and acceptance in thoughts through the perception of the real

mind and their behaviours, the effects of belief are sometimes use as a tool

world.

politically, promoting ideologies and the sense of nationalism.

8

5.1 Religious teaching Walls plays a crucial role religiously as promoting and spreading core ideas as spiritual teaching. Images and pictures are effective in telling stories from the bible without reading texts. As there were always illiterates, pictures became their only way to learn therefore religion is able to spread regardless the social status of people. Walls, despite functioning as the structural elements of a church, they provide surface to both the interior and exterior, giving opportunities to

5

apply two dimensional images on the face. In Ruskin’s experience of the St. Mark’s Basilica, he commented that “The walls of the church necessarily became the poor man’s Bible, and a picture was more easily read upon the walls than a chapter.”(Ruskin, 2007, pp.109)

WALL:

SACRED &

Due to the Byzantine influence, the walls of St. Mark’s Basilica contain an extensive collection of mosaics, telling the stories from the Bible and the history of St. Mark’s relic. The story of old Testament is depicted in the narthex, the entrance of the Basilica, which prepare

PROFANE

for the story of the New Testament proclaiming the story of Christian salvation. They were positioned all along the nave to the presbytery, forming a cross on the plan which is fair to say as illustrating the importance of the Christ (figure). The religious stories incorporate spatial consideration to present the Bible in chronological order as approaching to the inner part of the church. As the Christianity in the 12th century also celebrated and honoured the Saints and the Virgin, the basilica also consisted mosaics of their stories, especially that of St. Mark. The mosaics were all painted on top of the golden covering applied on wall surface which symbolised the Divine and the light of God. All its composition attempted to connect the Bible and the God.

9

Figure 1. St. Mark’s Basilica interior (Web Gallery of Art, n.d. )

Position of Mosaics Old Testament New Testament Stories of St. Mark Stories of Virgin Mary The Saints (Apostles)

Figure 3. Location of mosaics in St. Marks Basilica

10

Figure 2. Mosaic on exterior portal depicting paradise (Cheung, 2018)

The Eastern influence of Byzantine architecture, on the other hand express religion in a different way. Prohibition on human and animals representation in religious building clearly differentiate the way of expressing religious belief. In the Islamic world, the Prophet warned against the worship of idols, as a result, to avoid the practice, they turn to symbolism. Geometric on surfaces were one of the acceptable substitutes. They believe the delimitation of representing three- dimensional figures, draws attention to the spiritual truth (Clevenot & Degeorge, 2000).

Geometric patterning is one of the ways to express their faith in iconography.

It is often begun with the base of a circle, which emphasises one God in their faith and the symbolic role of Mecca as the centre of Islam. Its repetitive feature is also the representation of the unchanging law of God. Star is highly significant as it symbolizes equal radiation in all directions from a central point sharing with that of a circle. It also evokes imagination on heavens and astral bodies. It was believed that mathematics has a divine origin that numbers have qualitative aspect beyond the quantitative.

Mathematics as the means of expressing the quality of Divine is similarly presented in Greek and Renaissance architecture. However, instead of applying geometries to create patterns, they form invisible guides and grids for spatial arrangement and aesthetic composition. Golden ratios were used in a more three-dimensional way instead of planar decorations.

Characterised by its figurative features, or the idea of humanism specifically, the mathematical approaches were explored according to the proportions of human bodies and expressed in form of art and architecture. The concept of divine was interpreted as the proportion of human body since it was believed as the representation of God in the profane world. It shows differences in expressions depicting the same approaching.

Figure 4.(above) Geometrical set up for a repeat unit based on square and octagon within circle, turning to an octagonal star at the centre (Danby, 1995) Figure 5.(Below) Pattern applied as incised ornament at the Alhambra (Danby, 1995)

11

Figure 6.

Arabesques on mihrab, also incorporate calligraphy (Daniel, 2010)

12

Figure 7.

Mosaic composition of 10 point star in Friday Mosque of Isfanhan (Clevenot & Degeorge, 2000)

Figure 8. Positioning on the internal wall of the entrance

Figure 9. Inscription and mosaic of Jesus, Virgin Mary & St. Mark, text interpret as: “I am the gate; whomsoever enters through me shall find the pastures of salvation� ()

13

Another way to present and teach Islamic religious content is by scripts on walls. Scripts are not mere writings but a delicate decorative mean to express verses from the Quran along with geometric patterns as the composition of wall ornamentation. As illustration of figures are not allowed, the Arabic letters are believed as sacred character for Muslims since they agreed that the Arabic script is a gift of god which finds its archetype in a celestial script.

They preserve speech in the form of calligraphy which enhance the aesthetics of walls wy adding curvilinear pattern to the geometry. It is the epigraphic ornamentation that convey meaning and to make the Divine World, Visually manifest (). …

Back to the St. Mark’s Basilica, there are also inscriptions on walls along with all the figurative mosaics. They comment and complete the story scenes with short annotations, broadening the devotional meaning of image. Compare to the Islamic, they are more static, not as decorative as the calligraphy. Their passive character is the avoidance of strong attentions on texts, maintaining figures as the dominant focus of storytelling. Latin inscriptions were wrapped around the mosaics in an arch form on the external semi-domes, giving hint of the story they are picturing. The internal semi- dome over the portal (figure) portraying Virgin Mary, St. Mark and the Christ with the word from the Gospel of St. John, positioning on the entrance between the outside world and the Figure 10. Calligraphy surround the drum wall of the dome of Shah Mosque, geometric pattern applied below it (Daniel, 2010)

church inside, it presented as a symbol of the true “gate” to the Kingdom of God, that is through the Christ (Basilica di San Marco, n.d.). This combination of figures in the mosaic and inscriptions of bible verses suggest the basilica as a holy and sacred space differentiated from the profane world once enter the “gate”.

Walls play an important role in expressing religious believes figuratively and symbolically. They allow artistic expression applying on their surfaces, aiding its storytelling ability as well as representing the sacredness of space to worship the God. This enable learnings and understanding of the religion through walls. Without reading texts or the verbal teaching from others, one can learn individually through visual messages contented on the exposed walls.

14

5.2 From Religious to Cultural Paradise and Courtyards Among geometric patterns and calligraphy, Arabesques are also the key

The configuration of the walls outlines the urban form, representing the

approach of symbolism. It is defined as foliate ornament, motifs that consist

initial idea of “Ummah”, the community (Aureli, 2015). As religion and civil

flowing outlines of vegetations. They were derived from the shape of flowers

lives are inseparable in the faith of Islam and rituals and communal activities

and plants that observed in nature (). This connects to the admiration of the

are fundamentally linked, the concept of paradise continues in housing

ideal image of paradise, as a floral garden.

design. Central walled courtyards are captured as the social representation of paradisal garden, to “host the presence of the divine and safeguard

The origin of “Paradise” came from the Persian word “Pairi”, denoted the

against evil forces” (Khosravi, 2011). Sometimes elements of nature are also

meaning of a “walled estate”. It implied the presence of a wall constructed out

incorporated in its landscaping, allowing one to find himself in an idealized

of earth and a fortified space protected by it (Khosravi, 2015). The illustration

paradisaical environment domestically.

of Athanasius Kircher’s Topographia Paradisi Terrestris (Figure) present the idea of paradise as a walled garden that clearly isolated from the hostile and

This shows how the conceptual belief on paradise infiltrates in all aspects,

dangerous environment. Territory within the boundary was secure and safe

from the decoration on the wall of religious buildings, to the utilization on

from the abrupt exterior. The garden presented an impression of a sacred

housing design. Belief is incorporated and represented in forms of walls,

space as it is secured against violation.

not only limited in religious aspect but spread to cultural implications. It can therefore, said that from the design of courtyard and relevant implication of

Walls characterise inclusion and exclusion on space and its habitants. This

walls, they reflect the aspiration derived from one’s belief, in this case, the

affects the formation of cities as Khosravi (2011) claimed that the concept of

ideal image of paradise.

paradise is believed as “the apparatus to divide the evil form the good, enemy from friend and the city from the rest of the territory, to fundamentally build the state of well-being.”

15

Figure 11. Topographia Paradisi Terrestris. (Kircher, 1675)

Room

Kitchen

Room

Bath

Courtyard Pool

Hall

Room Room

Figure 12. Cahit Sıtkı Tarancı Müzesi (iskan ALTIN, n.d.)

16

Figure 13. Ground floor plan of Cahit Sitki Taranci house (Anon, n.d.)

on

n Parthe

e of Theatr us s Diony

Figure 14. Temenos of Acropolis (Adapted from McAuliffe, S.M. & Papadopoulos, J.K ,2012)

Figure 15. Boundary stone of the Agora, text interpret as “I am the boundary of the Agora�

(Lang, 2004)

Figure 16. Boundary stone in Athens Agora in the 2nd century A.D (Adapted from Dinsmoor, 1983)

17

The Ancient Greek Going back historically to the ancient Greek period, similar idea of utilising the walls as the identification of sacred spaces were broadened from religious functions to social and cultural implications.

Temenos

Agora

Acropolis, the citadel and sanctuary of Athens which located at the highest

There were no physical walls enclosing the agora as it celebrated freedom

point, was enclosed by a fortified wall that secure and protect the sacred

of open space. However, the boundary stones act as the wall identifying

core of the Athens (Figure). Temples and sanctuaries were built in Acropolis

the area of the agora (figure). Its main role is to define between public and

and their solemnness were further confirmed by positioning Temenos. The

private and draw the line to restrict people who convicted crime entering the

role of Temenos was to separate the secular and marked the passage from

Agora (Pedley, 2005). Boundaries no longer limited to religion but has social

the profane to the sacred, signifying an impression that the area within is

meanings.

inviolable (Scully,2013). The wall although was built in low level that it does not visually block out view, it indicates the boundaries that outline asylum,

Civic architecture such as temples, libraries and market places were built

a place people believed as pure and safe that no one can violate nor take

in the agora. Politics were discussed, and interactive communal activities

over. The temeno that surround Parthenon (Figure) suggests the space within

happened within. It can be said as a foundation of education through daily

was the area reserved for the worship of God. For temples originally was not

social practices as knowledge was spread through the exercise of questioning,

buildings, but the area that separated from everything else, the temenos

debating and exchange of ideas. The agora was therefore, the centre of

surround it therefore can be said as an identification parting two distinct

cultural and spiritual life of the city in the past as well as the foundation of

characters.

community and base of knowledge formation to the present.

From the wall of Acropolis to the temenos of Parthenon, it showed an increase

The attention on respecting significance aspects in their belief transform

of sacredness along with a decrease of areas that the walls enclosed. The

to civic development, become part of their living, blending their religious

more layers of walls encountered when approaching a place, the more sacred

believes to social and cultural lives shared among people. Independent values

it is. This shows the collection of walls tell a progression of the importance and

engage with the community within a broader zone.

solemnness of spaces in the urban planning of ancient Greece.

18

Directing to the Sacred The Ancient Greek: Parallel walls Temples and buildings in Greek architecture were usually designed in rigid form with wall facing each other, forming a pair of parallel walls. This arrangement gives a sense of direction, guiding movement between spaces and similarly, used to suggest a progression to a sacred space.

Figure 17. arramging to the Acropolis (Adapted from McAuliffe, S.M. & Papadopoulos, J.K ,2012)

Even the temenos in Acropolis were placed parallelly, imposing a path in between to approach Parthenon, Sanctuary of Zeus Polieus and Pandion. Due to its low profile, the wall direct people from a visual acknowledgement of the place to arriving physically to the destination, preparing the spiritual condition of the visitors before the arrival of inviolate space.

The walls possess a power of visual focus as it “is a combination of the line of direction, the convergence of perspective lines and the frame� (Unwin, 2014).

The Greek related their buildings to scared area on the peak of mountains by using parallel walls on their buildings. The Odeion of Perikles and Sanctuary and theatre of Dionysos, so as other buildings in the wider context, positioned their walls pointing to the Acropolis and the Parthenon (figure). This shows how religious thoughts affect the social urban development.

Figure 18. Parallel walls of Acropolis (Adapted from McAuliffe, S.M. & Papadopoulos, J.K ,2012)

19

Market place

Caravanserai

Shaikh Lotfollah Mosque

Islam: Mihrab to domestic house

Royal Square Gate

Back to the Islam as the dominant religion and culture, similar applications were found. The Mihrabs are the niches on the wall of mosques indicating Palace

Figure 19. Shah Mosque and relation to courtyard and surrounding buildings in 1975 (Adapted from Herdeg, 1990) Shah Mosque

“qibla�, the direction of Mecca, which is the home of the most important and sacred Islamic site (Danby, 1995). The qibla tells where the faithful should face during prayers. As praying to Kaaba of Mecca 5 times a day is the ritual that every Muslim follows and as mentioned, Islam is a civic religion that the majority of residences are its followers. Therefore, the ritual and the concept of Qibla were extended to urban domestic housing designs. Not only signages of indicating Qibla are put on walls of important rooms, but also incorporated to spatial arrangements. According to the suggestions laid by the Prophet, sleeping rooms are advised to face the qibla while toilets should neither face nor opposite the direction of it.

These urban and architectural arrangements showed how the Greek and the Muslims recognised the sacredness by means of walls and extend their concepts on architectural form. From approaching religious place for worshipping to the social and communal space that blended into daily lives. It developed their urban context and housing arrangement and design.

Figure 20. Plan of Shah Mosque indicating Qibla (Turner, 1611)

20

5.3 Dignity & respect The Wall of Arsenale The concept of sacred and profane can be interpreted differently in the

Due to the separation created by the perimeter wall, little do the general

cultural and political context of Venice. The sacredness of space resulted the

public know what happen within the wall boundary, the Arsenale was

attributes of dignity and respects.

therefore considered as a mythical place to the citizens. In addition to their achievement and accomplishment to Venice, the Arsenallotti, workers of the

The Arsenale was the heart for shipyard and naval base of Venice since 12th

Arsenale, were well respected as they carry out an honourable job to the city.

century and was praised as the key to power and prosperity of the Republic

It is safe to assumed that the isolation created by the wall surprisingly did not

that had remarkable role to its naval supremacy and trading prestige. It was

imply detachment nor solitude, but a pride and dignity. The perimeter wall

even celebrated as the leading industrial complex in Europe. Despite the

gave privacy and a serene environment that maintain focus on working for

beneficial geographical location of Venice, it can be reasoned that the urban

its best quality and psychologically convinced that all within the area were

arrangement, specifically the perimeter wall, characterises the Arsenale area

considered distinctive and exceptional from. It led to satisfactions and prides

by intensifying the impression of its importance to the city.

when one was being included and can access this mystifying space, while well respected by the others.

Similar to the idea of ancient Greek urban planning, the wall of the Arsenale distinguished disparate activities that happen within and beyond the boundary

Sacred imposes other meanings to a place, suggesting a mythical space

(Figure). Ship buildings, gallery repairing, and weapons makings were some

as people struggle to fully comprehend the its meaning resulted from the

of the activities happened in the Arsenale as naval military service. These

respect they possess towards the sacred. The respect and dignity they

activities hugely contrasted with the normal living routines that practised

hold to a space tells they value its existence even though they might not

outside the wall. The wall of Arsenale created a zone isolated from the rest

completely understand the space. This implies their trust and faith on the

of Venice for the exercise of special tasks for the city. It was descripted as a

meaning and the role a space imposed on the city. This internal subconscious

“self- contained fortress, almost a town within the city�(Goy, 1999, pp.77),

stance is a form of personal belief that make connection of the conscious and

confirmed the perceived sense of separation from the presence of tall walls

unconscious to the world.

lead to the impression of an independent region.

From religion to cultural to personal development, believes take an important role in suggesting what are sacred and valuable. Walls then become the architectural means, both spatially and aesthetically to present the concept, utilizing as physical subjects to express the incorporeal values and communicate to the others through a sensible environment.

Figure 21. Shipbuilding at the Arsenale in 16th century (Anon., 1517)

21

Figure 22. Arsenale boundary wall (Adapted from Maffioletti, 1797)

22

6.1 Protection & security Round city of Baghdad Walls also act as a tool of protection, which significantly influenced the

6

formation of cities in the past. Bringing up the fundamental concept of a paradise again, sacredness is considered a force that plays a crucial role in defining the fundamental concept of city (Aureli, 2015). The formation of ancient cities involved walls to enclose its territory and define its scope of

WALL:

THE POWER OF PROTECTION

authority protecting its citizens.

The round city of Baghdad, constructed in 8th century, presented a city framed in the shape of a circle by walls (figure). The wall defined important areas that need to be protected against the surrounding. The inner layer of wall framed the space for the royal precinct and the centred mosque, which was considered as the most sacred area. In between the layers, is the civic activities that protect against the hostile by the outer wall while respecting the holy worshipping space by drawing internal boundary. Spatial importance gradually increases toward the centre of the round city, accompanying with more protections toward the inner core. Therefore, the higher the signification of a space to the whole, the more protections it has. This illustrate the role of wall in the history of city-making was to draw barriers for protecting the importance.

23

Ancient Greek: Athens The territory of Athens was framed by wall as the fortification of the city, it tells what was beyond the control of the city state and what was not. This established a sense of protection within the boundary by implying things outside the zone, out of the rule of the authority, might be unsafe. The boundary ensured security within the border, which includes the agora and the scared district of Acropolis. As shown on the map(figure), the long walls connecting the city of Athens and the Piraeus, a costal port to the southwest of Athens. The walls provided secure protection to the city as part of its fortification system. It was the military strategy of Athens to ensure safe connection to its naval power to control the sea against any enemy attempting to approach the land. The implication of both the city wall and the long walls protected the inland Athens. This supports the idea of walls

Figure 23. City wall of Athens and Long Wall to Piraeus (Adapted from Maps Athens, n.d.)

as the mean of protection, symbolising the sense of security especially in a cultural and political context.

Figure 24. Round city of Baghdad (Anon., n.d.)

24

Lagoon: Disparity on Protection Impression: The Wall of Protection Despite building walls toward the sea to safeguard the inland in Athenian

Although the lagoon fails in achieving the role of protection, it maintain

defensive strategy, the Venetians hold their belief of protection in a different

the quality of wall as the divider of space and the overflowing water is an

perspective in relation to the water. They considered the water itself can

interesting circumstances giving new insight of an active wall. As the section

secure the city against invaders, hence, believed the Lagoon is functioned

(Figure) shows, the water marks the edge of land, separating the space

as the wall of protection in Venice. Other artificial defences were regarded

of where buildings can be built by indicating water as the constructional

as not essential nor sufficient in this context (). Physical mean of walls or

obstruction. Flooding makes the water reaches another edges on land. It can

gates cannot achieve peace and sense of security from land and sea cannot

be said that the surface of the Lagoon is therefore widened in when flooding

be achieved by as the marsh and unconquerable water passage proved

or tide rising. Its edge quality is blurred by the increase and decrease of water

its protection to the islands. The water is highly respected as the wall that

levels. Hence, the lagoon is different from the normal static form of walls

surround the city and some even comment that whoever attempt to bring

and that it suggests a restless wall with its thickness varies acorss time and

injury to the water, will receive punishment of the same extend of violating of

seasons.

a country’s wall (Tafuri, 1995, pp.154).

In terms of the architectural properties of a wall, it draws and creates Undoubtedly the water is not a materialised wall, but it possesses the

boundary for spaces, with a barrier in between. If referring back to the idea

impression of a wall in terms of the protection and security it symbolised. This

of line as the representation of walls on plans, the lagoon is an extremely

interprets the form of wall as protection in a different way which specifically

thick line lies between ground surfaces on the map of Venice (Figure). The

contextualised to the main characteristic of Venice, further enhance

canals become the walls that spilt the land into different subdivisions of living

understanding to both the city and its “wall�.

environments. This agrees the function of wall as drawing lines to divide spaces.

Reality: The insecure protection The impression of protection, however, does not agree with the real

Although both the impression and reality reveal lagoon possess the quality of

situation in Venice. throughout the year, the lagoon is constantly flooded and

wall in an immaterialised way, the meaning they symbolised might be different

poses threats to the environment. The flooding condition contradict to the

and even contradicting. To strive better understanding of the subject, it

impression of protection, as the natural hazard sometimes destroy and harm

requires recognition on both sides, not only believing the presumed value but

the city.

also challenge their meaning to try to apprehend the full picture. This might activity might lead to a new perspective in understanding the subject.

25

Width of Lagoon Potential range of water when tide rises or Flooding

Figure 25. Lagoon and canals are the line of wall on plan (Cheung, 2019)

Figure 26. Section of Lagoon: unstable wall edge and width (Cheung, 2019) 26

6.2 Challenging the notion of safety and security The wall of Arsenale Also located in Venice, the wall of Arsenale however, challenges its common

The Wall of Arsenale therefore has contradicting notion on protection.

notion of safety and security especially on its modern adaptations. Although

Physically, it protects the walled area for higher degree of privacy against

the Arsenale was not carrying vigorous activities in recent decades, the wall

distractions, however, it does not channel the sense of security in the

remained emblematic to the city. The three-mile-long perimeter wall was

experience the unconventional implication. It provokes doubts and hesitations

believed as a symbol as significant as the Piazza of San Marco (Goy, 1999,

that challenge an individual’s belief on the its role, conflicting with calmness

pp.77). Current public access to the area was mainly from the metal mesh

when feeling protected.

pathway attached to the wall toward the entrance of the area (Figure). The wall possesses its fundamental functionality of supporting and bearing loads, yet the sources of load are different. Instead of the load from roofs, it is the load from the extension running all along the wall above the lagoon. It upholds platform for lateral movements instead of vertical source of loads. As the implication is not commonly encountered in experience, it psychologically creates doubts on its performances, which contrast to the peaceful feeling of being secure and trusting on its functionality.

The pathway also provides an opportunity of a direct contact to the wall (Figure). Even though visually the massiveness of wall appears unreachable, walking along the pathway create immediate touch to the wall. However, the experience of walking on it might took courage as the meshes make visual connecting to the lagoon below and appears as walking on top of water (Figure). The experience challenges one’s trust and believe to the wall as a mean of supporting their own weight. It gives chance for an individual to initiate judgement and confidence over the wall. It might trigger the process of doubting and questioning, further reflecting on their past experiences and make reason on whether the wall is trust worthy or risky to walk on. Thoughts on risking own safety were triggered in the experience.

Figure 27. Visual contact to the water below through the gap between rising steps (Cheung, 2018)

27

Figure 29. Immediate exposure to the lagoon (Cheung, 201

Figure 28. Current wall restriction and only access to the area (Cheung, 2019)0

28

Figure 30. Metal mesh pathway all along the wall(Cheung,

6.3 Overprotection & its influence Free space and Walls: Unbuilding walls Protection, in one way signifies cognitive feelings of being secure, on the other hand suggests divisions and exclusions when it goes extreme. There could be contrasting notions overtaking the initial meaning of protection resulting from

Figure 31. Unbuilding Wall: Obstruction on entrance(GRAFT, 2018)

the reason why they were built and their functions. This overtaking meaning

The contrast is powerful in suggesting a restricted and pessimistic image,

of wall is effectively demonstrated in the German Pavilion in the Architecture

that one is not able to penetrate through the obstruction and the space it

Biennale.

separated is inaccessible. It significantly represents the image of the Berlin wall, the political mean of exclusion and division between place with different

The German pavilion manifest the theme of the biennale, Free space, in

18)

ideologies.

its installation of the Unbuilding Wall and Wall of Opinion. They presented projects of solutions to the death strip left after the demolishing of the Berlin

The physical spatial state of a free space exists once the Berlin wall was

Wall. It investigates the teared border in relation to the process of healing and

demolished, exposed a space for the public, for the potential of civic

its spatial meanings.

development. However, it could be argued that the idea of free space still has not completely established as the perception of free space is not based

2018)

Some criticized the Berlin wall as “sealing off authoritarian regimes from the

on its substantial state of openness and accessibility but the cognitive aspect

rest of the world with a frequently dead border” (GRAFT Architekten, 2018,

of inclusiveness and relief. The action of tearing down the wall was only the

pp.9) that its initial aim of protecting its own ideologies had become a sign of

fundamental physical condition for a free space, it needs the coordination

imprisoning, the instrument of exclusion and division. Although the Wall was

of people’s mind. The curator Krückeberg reminded that when talking the

physically teared down for 28 years, the impression does not fade.

subject of wall, it is crucial to remember that they started in the people’s mind (Flanagan, 2018). All the impressions walls symbolise and meanings

The experience of the space starts from encountering the wall that block

come from the brain. Hence, with the same reason, the action of tearing apart

the entrance to the indoor (figure), preparing the impression of obstruction.

the wall, the division, also need to happen in the mind. It conveys their key

Arriving the interior is the installation that plays with perspective and

concept of unbuilding is a process, to completely unbuild, take a long time.

continues to broaden the cognitive effects of obstruction (figure).

Psychologically it presented a barrier of division, separating the internal

Walk towards the wall, voids are revealed, exposing in reality it is not a

architectural space of the pavilion by putting up a harsh black strip of

continuous wall, but collections of panels positioned thoughtfully that fills in

blockade, contrasting with the pure whiteness of the interior background.

the gaps left between them. This represented the core idea of the exhibition, even though the wall is fragmented or disconnected, the feeling of a wall, a barrier does not fade. The Berlin wall although was knocked down for 28 years, the feeling of separation still possesses.

29

Figure 32. Unbuilding wall: Impression of Obstruction through contrast and illusions(GRAFT, 2018)

Figure 33. Unbuilding wall: The Never-ending wall (GRAFT, 2018) 30

Unbuilding Wall Panels Mirror Wall of opinion video display View point

Illusion from mirror image

Illusion from mirror image

Entrance

Figure 34. Unbuilding wall: The play on illusions on creating obstruction & extending the walls out of the physical boundary (Cheung, 2019)

31

The existence of wall does not limit to a single notion, it has multiple meanings.

On the other hand, walking passes the voids, there are glimpse of whiteness

The key notion it possesses might also have cause other different meanings,

among the sharp edges of the black (figure), when looking back to the “wall”,

for example, the idea of protection should imply a sense of secure and peace,

it gives a whole different sensation. It is a wall of different solutions that merge

however, it might also unintentionally result as isolation and exclusion. The

with the white interior space, liberating a sense of calmness and refreshment.

variety of meanings present the importance of cognitive effects of wall, which

Collectively they symbolized relief and sense of freedom that connect back to

depends on personal impression on the subject based on knowledge and

the theme of a free space.

thoughts. Therefore, it is arguable that the notions of walls that every individual possess might varies. Belief then has the decisive force in determining what is

The walls adjacent to both the Wall of Opinion and the Unbuilding Walls

perceive from the physical world.

were cover entirely with mirror, creating a reflective surface. As both walls were reflective and parallel to each other, the image bounce in between and therefore create an infinite repetition of image on the surface. This extend the border of walls as well as the content on it. The limitless repetitions create a long wall separating the space and even penetrating through voids visually, enhancing the sense of division and separation.

Listening to opinions are important in the role of knocking down the mental wall in mind. The curator commented “Walls are a sign of crisis, of breakdown in communication, of the inability to meet heat and injustice with civil means.”(GRAFT Architekten, 2018, pp.13). As a result, walls becomes an inevitable option to distinguish separate different ideologies. The walls on one hand is the product of communication failure, on the other, is the mean of communication. The Wall of Opinion can be said similar the Berlin Wall, collects people’s opinion and displays to the public. It is a silent and passive communication among its citizens, a civic activity that flood with collective desires and belief of freedom. The wall is the tool and platform for expressing thoughts.

Figure 35.(above) Unbuilding wall: Glimpse on the white and freedom (GRAFT, 2018) Figure 36.(Below) Unbuilding wall: Panels of projects reveal at the rear and all panels are separated (GRAFT, 2018)

32

7.1 Configuration of the interior walls Renaissance & Early Baroque Renaissance and Baroque has distinctive characteristics that clearly distinguish

7

WALL:

VISUAL AESTHETICS

between their underlying ideas. Their aesthetics on architecture is especially expressed through the articulation on walls. While Renaissance was the time that emphasized on harmony, unity and perfection between all elements to create a sense of completeness and satisfactions, Baroque considered the atmospheric effect and the illusion of movement in an architecture more important. Describing as a “painterly� style from (Wittkower, 1992) , it encouraged freedom of line and searched for intimidating and overwhelming effect in space as it suggests an incomplete process and movement towards the completion.

The Old sacristy of San Lorenzo from Brunelleschi and the Michelangelo’s New Sacristy, , clearly evident their difference. The wall of the old sacristy is more passive that every element was inserted on the surface. Both the arches on a flatness with white plaster connecting the element on the wall. On the contrary, the walls in the New Sacristy were more active, that it strived to engage with the viewer by the impressions it translates from its articulation on walls. While the old tried to trick the eye by using false perspective drawings on the wall surface in the shape of windows, the new sacristy tried to create effects by solid objects. Pendentives and columns projected out from the wall with different depth that create a sense of distance. The tabernacle niches windows and figures in between the columns also form pictures that came out from the wall. By placing the tombs attaching to the wall, it gives am impression that they are also part of the wall.

33

Figure 37. Filippo Brunelleschi: Old Sacristy, after 1421 (Anon, n.d.)

34

Figure 38. Michelangelo: New Sacristy, begun 1519 (Courtauld Institute of Art, n.d.)

35

Figure 39. Old Sacristy section (Cheung, 2019)

36

Figure 40. New Sacristy section (Michelangelo, c.1519. )

The Redentore: blurred representation of walls and columns The Redentore, differentiated to both architectural styles, was the

Not only the columns have the impression of wall, but two elements blend

representation of the architect’s own vision, therefore, communicate the

into each other. It is hard to distinguished between flat wall surface and

interior a unique way by the arrangement of architectural elements.

curved columns as they are merged together. Visually, massive columns

Based on the functionality of architectural elements, both columns and walls

were attached to the walls while the walls creating voids in form of vaults

are the tools as carrying loads and supporting the covering. Nevertheless,

and arches between columns. It is the wall that provide surface to connect

they were favoured differently across time. Columns were preferred in

columns. However, from the plan, it is hard to tell they are walls (figure) as

Greek architecture while in Roman architecture, walls were more favourable

they are presented as rows of separate curved units with deep thickness that

than columns. Alberti demoted that columns were actually an open and

clearly contrast to the normal representation of interior walls as flat and lean

discontinued piece of wall while wall is the columns that connected and

surfaces. The confusion continues in identifying their functionality in relation

unified (Alberti and Leoni, 1755). From recognising a different architectural

to the structure. The arrangement creates argument on whether it is the wall

interpretation of the close and exchangeable relationship between columns

or the column that has the role of carrying loads and supporting the roof.

and walls, the Redentore translated the idea into spatially that blurred the notion between two elements.

A row of columns, placed as an arc, separated the church’s sanctuary and choir (figure). Although there are spaces left between columns enable glimpsing into the choir, they possess as a sign of restriction, a barrier that the space behind is inaccessible. This quality of separation is what a wall normal defined.

Therefore, instead of placing a wall to divide spaces, a collection of columns achieves the same effect.

Figure 30. Walls and columns at aisle and apse (Cheung, 2019) 37

Figure 41. Retendore Interior: Blending notions of columns and walls at aisles (Web Gallery of Art, n.d)

38

Figure 42. Retendore interior: rows of columns behind the apse acting as wall (Weekend in Italy, 2017

7.2 The Redentore’s facade Impression of Depth Continuing the case study of the Retendore, the façade, not only aesthetically pleased the eyes with surface arrangement, but also reflects on spatial decisions. The façade of Retendore subverts the perception of wall as a flat surface by articulating with recessions and projections of elements on the façade. The composition creates a sense of depth on a flat surface. It does not appear as a sole skin that the frames the building but several layers of planes that visually delude. Columns and pediments were extruding from the wall and push towards to the lagoon which becomes the first thing that comes into sight.

The corporation of light and shades further portray the degree of depth on the facade. Light falls on the protruded surfaces and casts shadows on the withdrawn part of the wall. Depends on the degree of recession, the length of shadows varies. This composes a dynamic intensity of shades on the façade that can be comprehended as distances between a particular element and the standpoint of view. From figure (), the pediment and supporting wall are completely covered in shade, which indicate they were further away, while the columns are the frontmost elements of the façade that enjoy the most abundant sunlight.

Figure 43. Frontal Facade and exterior side walls (Descouens, 2013)

The impression of depth is only an illusion created by the architect’s thoughtful composition of wall, from the plan (figure)and the side view (figure)of church, it reveals that the façade is a single skin that put in front of the architecture. It is the façade, the wall, that represent the iconic image of the church, overpowering the aesthetics of the other exterior walls.

This shows the concern of scenographic effect the façade possesses as an instrument to reach aesthetic pleasure to the sight.

39

Figure 44. Light and shadows on Facade (Web Gallery of Art, n.d.)

40

The internal clues and spatial transitions As mention, the façade gives an impression of depth which also implies that it suggests the sequence of spaces within the church. The form that appears furthest to the sight, is the innermost space, while the nearest profile, represent the first encountered space within the architecture. As shown by the diagram (figure), the façade is formed by extracting sections of each part of the church, projecting them and merging them into a single wall. It also completely hides the difference in height and form of spaces at the rear.

Various pediments that can be observed from the façade are therefore the projection of different internal spaces arranging by distance. As the façade is a composite of the interior space, it gives clues of what to encounter in the church sequentially since by observing the façade, one can speculate the form of space.

Conventionally, wall is the element that divides the interior and exterior and to distinguish among them by giving different qualities to both surfaces.

However, the façade of Redentore blurred the line of this division by hinting the interior on the exterior. The idea of in and out is no longer determined by the insertion of wall as the wall itself merge between the inside and outside.

From the use of walls in the Redentore, it is evident that walls are not merely a passive tool for expressing and symbolising meanings given by the architect or creator but actively engage with the mind, with the experience of the perceiver. Meanings that wall is representing do not constrained to its value of why they are built, but the way how the viewer interprets and engages.

Figure 45. Layers of the Redentore (Cheung, 2019)

It presents a way to interact believes in mind with the external matters. It becomes a dynamic means in refreshing the mind by observing the physical differently.

41

Figure 46. Spatial relation to the facade (Cheung, 2019)

42

Scenographic play in theatre Viewing the Redentore The Retendore can never be observed as an independent architecture due

Lagoon as the wall of Venice is also mythical and intriguing. Due to the

to the characteristics of water in Venice. From the opposite shore, the whole

broad width of the lagoon, it creates an interesting observational activity of

composition of the church is viewed along with surrounding buildings,

architecture that the whole architectural image only happens momentarily.

creating a theatrical effect as Scenography. The white faรงade is then justified,

Buildings appear blurred and obscure when viewing from the opposite shore

as it makes the a key different among the red houses, drawing attention to

(Figure). On the contrary, appear too close to the walls that there is not enough

its uniqueness. In addition to the dedicate design of its faรงade, it creates a

space between the water and building to allow observation of the whole

fascinating and powerful image of the architecture.

faรงades, especially when they are tall (Figure). The only suitable distance for observing the entire image of the architecture is from the lagoon, when

Viewing the city

travelling on a water transportation. The opportunity of this observational activity therefore only last for a short period as the transportation is moving

Scenography is one of the Venetian unique architectural traits, portraying the

constantly. The lagoon is the wall laying out an array of architecture as a pictures

image of Venice as a city on water. Most of the buildings located along the

, but also is the wall that hides its architecture when observation point is from

coast of the lagoon attempt to display their best faรงade toward the lagoon.

either side of the land. It is although not physical materialised wall, it hides and

Those facades enjoy a visual enhancement intensified by the water. It reflects

reveals architecture mystically. Its visual quality and inspiring effects can only be

the image of the buildings on a fluid texture and by incorporating the effect of

understood by physical experience.

light, their facades are highlighted on the frontal wall view from the lagoon.

The Redetore and the lagoon in Venice suggest unique way in understanding The effect not only enhance independent aesthetics of the building, but

through observation of specific context. It not only helps appreciating Venice

also sharpen the image of the lagoon as it collects all the frontal faces of

as a city with uncommon features, but also stimulate sceptical thinking and

buildings and collectively form the first impression of the city. It can be said

a receptive mind towards authentic and primitive experiences. Through the

that the lagoon is a wall of gallery that contain, align and displayed all the

thinking process, it becomes exclusive knowledge and belief of an individual that

best appearance of architecture. The panoramic views (Figure) illustrate

cannot acquire from other sources.

the scenery of Venice from the water bus on the lagoon, it is like walking in a gallery observing collections of painting of architectures on a wall. The astonishing visual impression becomes the long lasting and iconic image of Venice.

43

Figure 47,(above) 48(below). Panorama view on the lagoon as architectural gallery on Redentore and other buildings (Cheung, 2019)

44

Wall Wall is the architectural element that functionally aid the formation of shelters according to its primary principle, but its meaning expands far beyond this. It is the tool for representing ideas and belief in physical materialised form, contributing to the image of a place. Wall appears everywhere in the built environment that we encounter daily

8 CONCLUSION

but sometimes neglected its role in characterising a space. Wall can represent meanings of a space. It distinguishes the scared and the profane by defining the boundary. Its role in drawing border also give notion on protection. Depending on the extend of protection, it further implies characters ranging from defensive to secure to restriction and isolation.

Aseptically, appealing and expressive art and craftsmanship decorate and compose the beauty of wall at the same time represents the creator’s intensions similar to how a painting does. The cognitive impressions it creates not only by means of it form, but also express on its aesthetic by serving as a platform for artistic expression. It tells stories about religious believes and value as well as presenting the identity of buildings. The image visually represents a space and collectively, walls present the visual image and character of a city.

45

Wall as Belief

Wall as Educator

Belief is the thoughts that encourage the formation of walls and the thoughts

Wall can directly teach people in a non-literal way. Pictures, drawings and

that walls encourage. In other words, belief is expressed in the form of walls

symbols are the common and universal language share between all human

while walls are the physical objects perceived from the mind and transform

beings, regardless the ability of reading and speech. The wall presented as a

into belief, both consciously and unconsciously. The relationship of wall

pictured book to spread knowledge. Both practices from Christianity and Islam

and belief is therefore interactive, influencing each other constantly. Their

made use of the walls to covey values to their worship space, the basilica and

relationship implies a connection of the cognitive thinking and consciousness

the mosque, to tell stories of the religion as well as symbolising the attribute

with the external visible world.

of God and the faith. Images are considered better educating means than that of texts as it is easier to understand. This confirms the role of walls in imposing

As belief is personal and subjective, it is fair to say every individual possess

knowledge directly to people.

their own different perception and impression of things. While walls communicate believes, the perception and impression are constantly tested

An even more effective way of learning is through experiences. It educates

and challenged when they contradict to one’s value. The conflicting views

obliquely through independent thinking process of making connection

on lagoon as a protective wall prove this disparity. However, this also denote

between the visible world and the cognitive feelings. Authentic experiences

the importance and uniqueness of every individual through perception and

are crucial in this way of perceiving and thinking. Wall is the stimulation of

thinking.

thoughts and mental thinking process by mean of the direct contact to the environment. The trip to Venice from experiencing particular architecture

Belief is influential to an individual internal development, especially in the

to appreciating a broader context of Venice, involves engaging and direct

aspect of learning. It is highly related to the formation of knowledge and

contacting the surrounding. They raise opportunity to discover unusual

ideas, as they are all the mental condition and activities engaged when one is

notions of walls that stimulate the activity of questioning and encourage an

thinking. Belief ties both knowledge and ideas together as it is one’s core value

analytical mind of being sceptical in what is being perceived. The thinking

within the mind, while knowledge is based on the interpretation things from

process seek ways to find meanings and conclude with an individual opinion

the core values.

and judgement. The whole process can be noticed as a way of self-learning, not depending on another source of teaching, but become the teacher of oneself. It becomes an active knowledge seeking through engagements rather than through passively instructed information. This agrees the view of Schopenhauer as the natural mode of education is through observation and experiences as he stated that the nature of an intelligent mind is sprung by abstraction from observation and personal experience is the teacher and book of an individual (Schopenhauer, c.a. 1890).

46

Wall as ideas Ideas are developed under the basis of observation that the mind interpret and convert. They are formed when observations and experiences are transformed to knowledge the even persona propositions, in other words, belief. Every idea is considered unique as they speak for the mind.

The conventional notions of walls are challenged by the lagoon in Venice, presenting as a mythical wall with fluctuating effects on defining separation and presenting visual image. The façade of the Redentore also change the static and passive role of walls to a tool actively engage with spatial arrangement and movement. They possess certain characteristic of wall, at the same time blurred the meaning of wall and giving new ideas on what a wall can be. This present the idea of wall can be interpreted and developed in different ways, challenging the assumption of what a wall is. They illustrate an the idea of blurring the meaning of a subject, agreeing what Eisenman stated, “If the present is displaced by looking to the past in order to blur the present to suggest a previous unknown future, it is possible to change the desires and expectation of the subject.â€?(Eisenman, 1988) The wall quality of the lagoon and Redentore are not only the archetype of this practice of blurring and bring new meanings, but also are the inspirations to stimulate thoughts, acting like a precedent to give new insights. By recognising them as the past and continuing their way in blurring conventional notions, brings new insight and ideas that established from own explorations and stance of the subject.

Wall is the image of an architecture, the expression of belief, the teacher of knowledge and the motivation of ideas.

WALL,

is the image of an architecture, the expression of belief, the teacher of knowledge and the motivation of ideas.

47

1. Acropolis: a citadel or fortified part of an ancient Greek city normally built on hill 2. Agora: central public space in ancient Greek city-states for gathering 3. Arabesques: am form of Islamic artistic decoration consisting curvilinear lines derived from planets and nature 4. Choir: s the area of a church or cathedral that provides seating for the clergy and church choir

9 GLOSSARY

5. Faรงade: the principle front face/wall of the building 6. Mosaic: picture or pattern produced by arranging together small pieces of stone, tile, glass, 7. Motifs: decorative repeated form of patterns 8. Niche: a shallow recess, especially one in a wall to display a statue or other ornament.

9. Pediments: the triangular upper part of the front of a classical building, 10. Pendentives: a vault created by intersecting of arches and dome 11. Quran: the Islamic sacred book, believed to be the word of God as dictated to Muhammad 12. The Prophet: The proclaimer of the will of God, Muhammad in the religion of Islam 13. Vaults: a roof in the form of an arch or a series of arches, typically in churches

48

1. Alberti, L.B. and Leoni, G., 1755. The architecture of Leon Batista Alberti in ten books. E. Owen.

2. Anon., 2019. Unbuilding Walls: The German Pavilion At The Venice Biennale.

[Online]. Available at: https://www.ignant.com/2018/05/25/unbuilding-walls-thegerman-pavilion-at-the-venice-biennale/ 3. Aureli, P. V., 2015. Rituals and walls : the architecture of sacred space. In: P. . V. Aureli & M. S. Giudici, eds. Rituals and walls : the architecture of sacred space.

London: Architectural Association.

4. Basilica di San Marco. (n.d.). Mosaics [online]. Available at: http://www. basilicasanmarco.it/basilica/mosaici/?lang=en [Accessed 28 March 2019].

5. Clevenot, D. & Degeorge, G., 2000. Ornament and decoration in Islamic architecture. London: Thames & Hudson.

6. Danby, M., 1995. Moorish style. London: Phaidon.

7. Dretske, F., 2000. Perception, Knowledge and Belief: Selected Essays. Cambridge

BIBLIOGRAPHY

10

University Press. [online]. Available at: https://www.unicauca.edu.co/gea/sites/ default/files/SeminarioInvestigacionI/LIBRO_Perception-Know&Belief-Dretskle. pdf [Accessed 27 February 2019].

8. Eisenman, P., 1988. Blurred zones. Blurred Zones: Investigations of the Interstitial, pp.6-9.

9. Goy, R., 1999. Venice: The City and Its Architecture. London: Phaidon press.

10.

11. GRAFT Architekten, 2018. Unbuilding Wall. Basel: Birkhäuser.

12. Khosravi, H., 2011. Paradise [online]. The City as a Project. Available at: http:// thecityasaproject.org/2011/07/paradise/ [Accessed 24 January 2019].

13. Khosravi, H., 2015. Inhabitable Walls: The Genealogy of Islamic Sacred Space.

In: P. V. Aureli & M. S. Giudici, eds. Rituals and walls : the architecture of sacred space. London: Architectural Association.

14. Mark, J., 2009. “Wall”. [online] Ancient History Encyclopedia. Available at: https:// www.ancient.eu/wall/ [Accessed 3 Mar. 2019].

15. Ruskin, J., 2007. The stones of Venice. New York: Cosimo Classics.

16. Schopenhauer, A., 1891. On Thinking for Oneself. [online], Essay of Schopenhauer.

Available at: http://www.gutenberg.org/files/11945/11945-h/11945-h.htm [Accessed 31 October 2018]. [Project Gutenburg release date 7 April 2004.]

49

17. Schopenhauer, A., c.a. 1890. On noise. [online], Essay of Schopenhauer. Available at: http://www.gutenberg.org/files/11945/11945-h/11945-h.htm [Accessed 31 October 2018]. [Project Gutenburg release date 7 April 2004.]

18. Schwitzgebel, E., “Belief”, The Stanford Encyclopedia of Philosophy (Summer 2015 Edition), Edward N. Zalta (ed.), Avalivable at: https://plato.stanford.edu/archives/ sum2015/entries/belief/ [Accessed on 3 March 2019] 19. Scully, V., 2013. The earth, the temple, and the gods: Greek sacred architecture.

Trinity University Press.

20. Tafuri, M., 1995. Venice and the Renaissance. Mit Press.

21. Unbuilding wall, n.d. Unbuilding wall [online]. GRAFT GMBH, Avaliable at: https:// www.unbuildingwalls.de/eng/english [Accessed 3 November 2018].

22. Unwin, S., 2000. An architecture notebook: wall. Psychology Press.

23. Wittkower, R., 1998. Architectural principles in the age of humanism. 5 ed.

Chichester: Academy Editions.

24. Wölfflin, H., 1992. Renaissance and baroque. New York: Cornell University Press.

25. World Heritage Encyclopaedia, n.d. “Belief”. [online] World Heritage Encyclopaedia. Available at: http://www.self.gutenberg.org/articles/Belief [Accessed on 3 March 2019]

50

1. Web Gallery of Art, n.d. Mosaic Basilica di San Marco. [Online] Available at: https://www.wga.hu/frames-e.html?/html/zgothic/mosaics/6sanmarc/index.html [Accessed 20 Febuary 2019].

2. Cheung H. L. , 2018.[photograph]

11

LIST OF IMAGES (FIGURES)

3. Adapted from: Basilica di San Marco, n.d. Mosaics [online]. Available at: http:// www.basilicasanmarco.it/basilica/mosaici/?lang=en [Accessed 28 March 2019].

4. Danby, M., 1995. Moorish style. London: Phaidon.

5. Danby, M., 1995. Moorish style. London: Phaidon.

6. Daniel C.,2010. View of mihrab. Waugh Archive, MIT Libraries, Aga Khan Documentation Center. Available at: https://archnet.org/media_contents/119899 [Accessed 1 March 2018].

7. Clevenot, D. & Degeorge, G., 2000. Ornament and decoration in Islamic architecture. London: Thames & Hudson.

8. Adapted from: Basilica di San Marco, n.d. Mosaics [online]. Available at: http:// www.basilicasanmarco.it/basilica/mosaici/?lang=en [Accessed 28 March 2019].

9. Basilica di San Marco, n.d. Mosaics [online]. Available at: http://www. basilicasanmarco.it/basilica/mosaici/?lang=en [Accessed 28 March 2019].

10. Daniel C.,2010. Qibla dome, view from east. Waugh Archive, MIT Libraries, Aga Khan Documentation Center. Available at: https://archnet.org/media_ contents/119802 [Accessed 1 March 2018].

11. Kircher, A., 1675. Topographia Paradisi Terrestris. Beinecke Rare Book & Manuscript Library [online]. Available at: https://brbl-dl.library.yale.edu/vufind/ Record/4194245 [Accessed 10 February 2019].

12. iskan, ALTIN, n.d., Cahit Sıtkı Tarancı Müzesi [online.] Available at: https://www. kulturportali.gov.tr/turkiye/diyarbakir/gezilecekyer/caht-siki-taranci-muzes [Accessed 3 March 2018].

13. Ground floor plan of Cahit Sitki Taranci house, n.d., [online.] Available at: http:// www.dicle.edu.tr/a/skaradogan/diyarbakir/dbase/konut/s104/plan2.htm [Accessed 3 March 2018].

14. Adapted from McAuliffe, S.M. & Papadopoulos, J.K (2012). Framing Victory: Salamis, the Athenian Acropolis, and the Agora. Journal of the Society of Architectural Historians. pp.339, fig. 8[online]. Available at: https://www. researchgate.net/publication/259731162_Framing_Victory_Salamis_the_ Athenian_Acropolis_and_the_Agora [Accessed 4 March 2019].

51

15. Lang, M., 2004. Boundary stone of the Agora. The Athenian Citizen: Democracy in the Athenian Agora. pp.6 [online] Available at: http://agora.

at: http://www.artandarchitecture.org.uk/images/conway/fe08d43d.html [Accessed

ascsa.net/file?id=Agora%3APublication%3AAgora%20Picture%20Book%20

26 February 2019]. [photograph.].

4&field=PDF&path=%2FAgora%2FPDFs%2FBooks%2FAgoraPicBk-4.pdf [Accessed

39 Cheung, H.L. E, 2019 [ill.]

2 March 2019]. [photograph.].

40 Michelangelo, c.1519. New Sacristy. [Online]. Avaliable at: https://i.pinimg.com/

16. -18 Adapted from Dinsmoor, W.B. Jr., 1983. General plan of the Agora in

originals/3c/02/85/3c02850e518ed719d1c0db911670fe3f.jpg [Accessed 26 February

the 2nd century A.D. The American School of Classical Studies at Athens

2019]. [ill.].

[online]. Available at: http://agora.ascsa.net/id/agora/drawing/da%20

41. Weekend in Italy, 2017. Festa Del Redentore- Redeemer’s Feast. [Online] Available

3910&q=references%3A%22Agora%3AMonument%3ASoutheast%20Fountain%20

at: https://blog.weekendinitaly.com/[Accessed 18 Febuary 2019].

House%22&t=&v=icons&p=1&s=104&sort=rating%20desc%2C%20sort%20

42. Web Gallery of Art, n.d.. Palladio, Andrea. [Online] Available at: https://www.wga.

asc&size=full [Accessed 28 February 2019]

hu/html_m/p/palladio/1/redento3.html [Accessed 18 Febuary 2019].

19. Herdeg, K., 1990. Plan of the Maidan and surrounding buildings in 1975. Formal

43. Web Gallery of Art, n.d.. Palladio, Andrea. [Online] Available at: https://www.wga.

Structure in Islamic Architecture of Iran and Turkistan. New York: Rizzoli. Available at:

hu/html_m/p/palladio/1/redento2.html[Accessed 18 Febuary 2019].

https://archnet.org/sites/2717/media_contents/40361 [Accessed 1 March 2018].

44. Descouens, D., 2013. Il Redentore Venice. [Online] Avaliable at: https://upload.

20. Turner, K., 1611. Masjid-i Shah. MIT Libraries, Aga Khan Documentation Center.

wikimedia.org/wikipedia/commons/5/55/Chiesa_del_Redentore_%28Venice%29.jpg

Available at: https://dome.mit.edu/handle/1721.3/43122 [Accessed 1 March 2018].

[Accessed 26 February 2019]. [photograph.].

21. Anon., 1517. Shipbuilding at the Arsenale [online]. Avaliable at: https://universes.

45.Cheung, H.L. E, 2019 [diagram.]

art/de/art-destinations/venedig/biennale-di-venezia/arsenale/05/. [Accessed 26

46. Cheung, H.L. E, 2019 [diagram.]

February 2019]. [ill.].

47. ITALYscapes, n.d.. Il Redentore. [Online] Available at: https://www.italyscapes.

22. Maffioletti, G.M., 1797. Iconographic projection of the Arsenal in Venice [online].

com/places/veneto/venice/churches/il-redentore/ [Accessed 18 Febuary 2019].

Available at: https://www.allaboutlean.com/material-flow-arsenal-of-venice/

48. Cheung, H.L. E, 2019 [photos.]

[Accessed 26 February 2019]. [ill.].

23. Maps Athens, n.d., Ancient Athens map. [online]. Available at: http://maps-athens. com/ancient-athens-map [Accessed 1 March 2018].

24 Anon., n.d. Baghdad [online]. Available at: http://socks-studio.com/2015/10/06/ the-round-city-of-baghdad/[Accessed 24 February 2019] . [ill.].

25-30 Cheung, H.L. E, 2018 [diagram][photographs] 31-33: GRAFT, 2018. Unbuilding wall [online]. GRAFT GMBH, Available at: https:// www.unbuildingwalls.de/eng/english [Accessed 3 November 2018].

34: Cheung, H.L. E, 2019 [diagram] 35-36: GRAFT, 2018. Unbuilding wall [online]. GRAFT GMBH, Available at: https:// www.unbuildingwalls.de/eng/english [Accessed 3 November 2018].

37. Anon., n.d. Old Sacristy. [Online]. Avaliable at: https://www.wga.hu/art/b/ 52

28 Courtauld Institute of Art, n.d. New Sacristy (Sagrestia Nuova). [Online]. Avaliable

brunelle/sacristx.jpg [Accessed 26 February 2019].

1. 2017 Maps of Meaning 12: Final: The Divinity of the Individual, 2017. [Youtube] Jordan B Peterson, 27 May. Available at: https://www.youtube.com/watch?v=6V1

ONLINE LEC TUR ES & VIDEO

eMvGGcXQ&list=PL22J3VaeABQAT-0aSPq-OKOpQlHyR4k5h&index=12 [Accessed 27 February 2019].

2. 2017 Maps of Meaning 01: Context and Background, 2017. [Youtube] Jordan B Peterson, 16 January. Available at: https://www.youtube.com/watch?v=I8Xc2_ FtpHI [Accessed 27 February 2019].

3. 2017 Maps of Meaning 09: Patterns of Symbolic Representation, 2017. [Youtube] Jordan B Peterson, 29 March. Available at: https://www.youtube.com/watch?v=y XZSeiAl4PI&index=9&list=PL22J3VaeABQAT-0aSPq-OKOpQlHyR4k5h [Accessed 27 February 2019].

4. Daniel Dennett - What is Belief?, 2016. [Youtube] Closer To Truth, 25 July.

Available at: https://www.youtube.com/watch?v=hOI6PgDGCIw [Accessed 27 February 2019].

5. John Searle - What is Belief?, 2016. [Youtube] Closer To Truth, 25 July. Available

FULL LIST OF MATERIAL

12

at: https://www.youtube.com/watch?v=5QaOt56cWhg [Accessed 27 February 2019].

1. Alberti, L., 1988. On the art of building in ten books. Cambridge, Mass.: MIT Press.

2. Alberti, L.B. and Leoni, G., 1755. The architecture of Leon Batista Alberti in ten books. E. Owen.

3. Aureli, P. V., 2015. Rituals and walls : the architecture of sacred space. In: P. . V. Aureli & M. S. Giudici, eds. Rituals and walls : the architecture of sacred space.

London: Architectural Association.

4. Basilica di San Marco. (n.d.). Mosaics [online]. Available at: http://www. basilicasanmarco.it/basilica/mosaici/?lang=en [Accessed 28 March 2019].

5. Clevenot, D. & Degeorge, G., 2000. Ornament and decoration in Islamic architecture. London: Thames & Hudson.

6. Cruz, M., 2013. The inhabitable flesh of architecture. Farnham : Ashgate.

7. Danby, M., 1995. Moorish style. London: Phaidon.

8. Dretske, F., 2000. Perception, Knowledge and Belief: Selected Essays. Cambridge University Press. [online]. Available at: https://www.unicauca.edu.co/gea/sites/ default/files/SeminarioInvestigacionI/LIBRO_Perception-Know&Belief-Dretskle.

53

pdf [Accessed 27 February 2019].

9. Eisenman, P., 1988. Blurred zones. Blurred Zones: Investigations of the Interstitial, pp.6-9.

10. Foscari, G. and Koolhaas, R., 2014. Elements of Venice. Switzerland: Lars Muller Publisher.

11. Goy, R., 2006. Building Renaissance Venice. New Haven: Yale University Press.

Available at: http://www.gutenberg.org/files/11945/11945-h/11945-h.htm [Accessed 31 October 2018]. [Project Gutenburg release date 7 April 2004.]

26. Scully, V., 2013. The earth, the temple, and the gods: Greek sacred architecture.

Trinity University Press.

27. Stoppani, T., 2015. Paradigm Islands: Manhattan and Venice: Discourses on Architecture and the City. London: Routledge.

12. GRAFT Architekten, 2018. Unbuilding Wall. Basel: Birkhäuser.

28. Tafuri, M., 1995. Venice and the Renaissance. Mit Press.

13. Howard, D., 1980. The architectural history of Venice. London: B.T. Batsford.

29. Unbuilding wall, n.d. Unbuilding wall [online]. GRAFT GMBH, Avaliable at: https://

14. Khosravi, H., 2011. Paradise [online]. The City as a Project. Available at: http:// thecityasaproject.org/2011/07/paradise/ [Accessed 24 January 2019].

15. Khosravi, H., 2015. Inhabitable Walls: The Genealogy of Islamic Sacred Space.

In: P. V. Aureli & M. S. Giudici, eds. Rituals and walls : the architecture of sacred space. London: Architectural Association.

16. Koolhaas, R., 2014. Wall. Venice: Marsilio.

17. Pedley, J. G., 2005. Sancturies and the Sacred in the Ancient world. Cambridge: Cambridge University Pres.

www.unbuildingwalls.de/eng/english [Accessed 3 November 2018].

30. Unwin, S., 2000. An architecture notebook: wall. Psychology Press.

31. Unwin, S., 2014. Analysing architecture. London: Routledge/Taylor & Francis Group.

32. Wigley, M., 1995. Story-time. Assemblage, 27, pp. 80-94.

33. Wittkower, R., 1998. Architectural principles in the age of humanism. 5 ed.

Chichester: Academy Editions.

34. Wölfflin, H., 1992. Renaissance and Baroque. New York: Cornell University Press.

18. Rowe, C., 1994, On architecture Education [online]. ANY: Architecture New York, no. 7/8, pp. 48-51. Available at: http://www.jstor.org/stable/41846101 [Accessed 3 November 2018].

19. Rowe, C., 1996. The Provocative Façade: Frontality and Contrapposto. In: As I was saying : recollections and miscellaneous essays. London: MIT, pp. 171-203.

20. Rowe, C., Satkowski, L.G. and Cigliano, J., 2002. Italian architecture of the 16th

21. Ruskin, J., 2007. The Stones of Venice. New York: Cosimo Classics.

22. Schopenhauer, A., 1891. On Thinking for Oneself. [online], Essay of Schopenhauer.

Available at: http://www.gutenberg.org/files/11945/11945-h/11945-h.htm [Accessed 31 October 2018]. [Project Gutenburg release date 7 April 2004.]

23. Schopenhauer, A., c.a. 1890. On Education. [online], Essay of Schopenhauer.

Available at: http://www.gutenberg.org/files/11945/11945-h/11945-h.htm [Accessed 20 January 2019]. [Project Gutenburg release date 7 April 2004.]

24. Schopenhauer, A., c.a. 1890. On noise. [online], Essay of Schopenhauer. Available at: http://www.gutenberg.org/files/11945/11945-h/11945-h.htm [Accessed 31 October 2018]. [Project Gutenburg release date 7 April 2004.]

54

25. Schopenhauer, A., On Reading and Books [online], Essay of Schopenhauer.

RE ADIN GS

century. New York: Princeton Architectural Press.

Et h ical C heck list

13

APPENDIX:

55

56