Architectural emoti when architecture tune with a univers obey, recognize an
ion is achieved rings within us in se whose laws we nd respect 1
Le Corbusier
The (Re)Enchantment of place We are Homo Duplex or two-level man, as Emile Durkheim explained. The lower level is the level of profane where man is driven by instincts, desire, and appetite. Profane man pursues only individual goals. The opposite of profane is sacred where man is being led by morality and other elements generated by society. In the level of sacred, man expresses something far more than himself and seeks social solidarity. Durkheim named this level as sacred because he believed the function of religion was to unite people into a community and he believed that anything that unites us takes on an air of sacredness. In order to enhance our experience of life as profane to the experience of life as sacred or deeply interconnected, we have to go through a phase change experience or a state of altered consciousness that diminishesour individual self and allows us to feel more connected to everyone and everything around us. However, we have more and more accepted a “profane existence” due to the process of disenchantment. The advent of scientific methods and the use of enlightened reason have eroded the validity of religion. We now put our faith in science and rely on it to explain everything in rational terms. According to Max Weber, there is a decline of public life in a disenchanted world since transcendent values are no longer to be found in community, and people rather seek emotional fulfillment in private relations. Without doubt secular society offers us a plethora of resources and entertainments which never fails to satisfy our lower, profane selves. Yet, we are Homo Duplex, our spiritual desire to understand our place in the world and our thirst for transcendence experience have not changed. Religion, mythology, and rituals have long served to guide us to reach the level of sacred and attempted to provide answer to the questions of existence. The answer is expressed in many forms, one of which is through architecture. This manifesto aims to illustrate the depth and intrinsic importance of symbolism and ritual in human consciousness, and how architecture can be used as a medium to facilitate the act of altering one’s state of mind. Like religion and mythology, I believe architecture can provide the archetypal human needs for emotional security and spiritual enrichment.
Aztec Psilocybin Mushroom Ceremony
Transcendence Transcendence is a common human experience, as William James explained in “The Varieties of Religious Experienceâ€?. Transcendence is a mind-altering experience where your sense of self completely dissolves, and you feel deeply interconnected with the environments or even the universe. According to neuroscience research, during transcendent states, there is decreased activity in the posterior superior parietal lobe (the area of the brain which locates the self in space and distinguishes it from everything else. When there is a decrease of neuronal inputs in this part of the brain, the brain can no longer separate the self from the surrounding environment which triggers the feeling of self-diminishment.2 This uplifting experience takes us from the experience of life as ordinary upwards to the experience of life as sacred. We become more loving and compassionate when we are on this higher level. Religions have found many ways to help people to achieve transcendental experiences, such as the practice of rituals and meditation. But religion is not the only way to trigger this phase change. Some shut down the self with the use of psychedelic drugs, dancing, listening to a beautiful piece of music, or overcome their self at raves.Â
Many people find self-transcendence in nature and the experience can change them in a lasting way. In one research from 2014, a group of students were asked to look up at massive eucalyptus trees for just one minute and after that awe-inspiring encounter with nature, they reported felt less self-centred and behaved more generously. It indicates that contact with nature can trigger the feeling of awe and this ‘awe’ emotional response can result in a diminishment of the individual self and increase prosocial behaviour.3
With the manipulation of scale, proportion, and light, architecture can also induce this 'awe-feeling'Â
"What is the source of ethics a asks, and answers: "This is th
and morality?"- Alois Bastl he job of the occult science."
Symbols & Rituals Transhistorically and pan-culturally, myth and religious beliefs are expressed through symbolic language and ritual practice. Architecture is served as the spatial and temporal symbolization of myth and religion; it is also the sacred place for the enactment of ritual and spiritual journey. This chapter will look at the symbolic and ritualistic role in architecture and how they facilitate the process of altering one’s consciousness, and ultimately reaching the state of transcendence.
4
Transcendent Function Apart from physical contact with the environments, we can ‘transcend’ our current psychological states and gain new insights through active imagination (allowing spontaneous fantasy to arise from the unconscious and then engage with it to uncover newperspectives 5). Carl Jung believed human psyche has the capacity to facilitate engagement between conscious and unconscious contents and to synthesis these to keep us in balance and promote the individuation process. Active imagination can be activated through the full engagement with any art forms, especially film. Jungian writer John Izod suggests that we can use the symbols and narrative on the screen to deepen our awareness of self, just as Jung proposed active engagement with the unconscious.6
PSYCHE’S CENTRE After ego’s confrontation with unconscious via activation of the transcendent function
PSYCHE’S CENTRE Before ego’s confrontation with unconscious
form follows meanings From communication to the revelation of inexpressible religious and mythological themes, symbols have played an important role in the human need to define our place in the world. According to Carl Jung, symbols have the ability to resonate with the collective unconscious, which reveal the archetypal essences, and are therefore timeless and universal. The following examples show the representation of symbols through the form of architectural space, plan, geometry and form.
Tibetan Mandala
Borobudur Temple
Vastu Purusha Mandala
Ziggurat of Ur
Mandala Mandala is a description of the organization of the universe. It’s the description of the order diagram of the organization of the mind and it’s a tool for putting the mind in harmony with the universe and it’s a series of concentric geometric form. In the East, it symbolized the spiritual journey toward psychic wholeness.
Newgrange passage plan
View from the passage tombs
Chartres Cathedral plan
Interior of Chartres Cathedral
Cross The underlying pattern of Newsgrange and Chartres Cathedral is very similar. They share the idea of going into the body of the goddess. This is a symbolic move of entering into the transcendence.
Fig. 9. Phi symbol
Fig. 10. The Golden Ratio
Fig. 11. The proportions of the Parthenon correspond to the Golden ratio
Phi The Parthenon on the Acropolis of Athes, the proportions of which correspond to the golden section. It symbolized a self-contained and unified whole, apure sacred form distinguished from the ‘formless’ profane surroundings. The second reason was to recreate or reflect God’s omnipotence and perfection. 7
The above examples can be classified as sacred architecture as they offered not only places for religious persons to commune and practice rituals, but also led them towards contact and relation with The Sacred (which is a transcendent referent such as the gods, God, or Nirvana) 8. Religious persons thirst for being and understanding the cosmos, Mircea Eliade explained. Sacred space delineates the demarcation between the realm of sacred and profane and thus gives orientation and meaning to space. To religious persons, sacred space is a point wherein two worlds meet and is the centre of the world (axis mundi). Furthermore, it represents the primordial act of creation where people perform ceremony and festival to celebrate the cycle of life, to harness the order of the cosmos.The architectural experience of penetrating the sacred place is a kind of initiating journey, passing through the threshold and a series of spaces to encounter the sacred, and this experience exists both in the physical architecture and in one’s consciousness.9
"Do what he will, he [the profane man] is an inheritor. He cannot utterly abolish his past, since he himself is a product of his past. " Mircea Eliade
" This diffusion of meaning, ritual action can be individu
symbols, and rules for ually a peak experience."
10
Mihaly Czikzentmihaly
Rituals The practice of ritual is found in all the world’s religions and smallscale societies. The function of it can range from testing one’s faith, spiritual enrichment to the change of an individual’s status in society. Most ceremonial rituals will require individuals to go through a transitional process – Rites of Passage. According to Victor Turner, rituals are performed in a specific sacred setting or architecture that captured the essence of separation (preliminal), transition (liminal), and incorporation(post-liminal). Rites of Passage is usually an intense experience that requires the full mind-body awareness of the participants. Through the journey, different architectural elements are utilized to resonate with the feeling of lost and found, death and rebirth, thus making the experience more rewarding and memorable. Having a clear direction and destination is also important to the participants as it suggests hope and certainty.
S e pa r
a t i on ... Rites of separation (preliminal) symbolically detach the individual from an existing point in the social structure. After this separation, the former social status no longer applies to the individual
In Tibet, pilgrims circumambulate the sacred Mount Kailas, some fully prostrating themselves every few steps for the entire thirty-two-mile journey, an act of both trial and spiritual merit.11
‘Nangol’, a land diving ritual that performed by the men of the southern part of Pentecost Island. The ritual is associated with annual yam harvest and also a rite of passage for boys. The tower symbolically represents a human body
Tra ns
iti on ... In the transition or liminal stage, the individual becomes roleless and is devoid of any social status. The liminar resides at the margins of society while they prepare to adopt a new role.
At some Gothic cathedrals, labyrinth patterns were set into the floor of the nave through which penitents would crawl on their hands and knees, a miniaturized journey to the sacred place.12
The pilgrim journey to Mecca requires a lot of efforts with gateways, thresholds, and paths that have to be passed before reaching to the sacred black stone.
...Inc orp
p o r a t ion
Incorporation is the final stage of the ritual and it allows the individual to adopt a new social status and re-enter society. If this re-entry does not occur, liminality does not end, a status possible in hypermodern society but not in small-scale traditional society. 13
The paleolithic cave sanctuaries at Lascaux provided settings for male initiation rites. Young boys were led down the dark and narrow passages to the inner womblike chambers, and entered the Hall of the Bulls, where they acquired the knowledge of hunting from paintings on the rocks. When they emerge from the cave, they are no longer boys, but men.
Desire for Initiation In many rituals, the liminal state is symbolically related to death, decomposition, or other negative physical attributes 8. Without a position in the social system, it is difficult to classify a liminal person as alive or dead. Consequently, the individual will experience both intense pressure and excitement during rites of passage. According to Luis Zoja, the lack of opportunities for spiritual and initiatory experience in this desacralized contemporary culture have lead people to use addictive substances or practice addictive behaviour like gambling, as a kind of misguided attempt to ‘arrive’ in a new or ‘other’ state which fulfils an archetypal need for initiation.14
Fig. 17.
"The lates the conti and the B on the co Fifth Ave light to c
st incarnation of Oedipus, inued romance of Beauty Beast, stand this afternoon orner of 42nd Street and enue, waiting for the traffic change." 15
Joseph Campbell Universal Myths Myths and religions, according to Joseph Campbell, are our inventions to give our lives meaning have aspect that are fundamentally timeless and universal. Also, they are the spontaneous products of the psyche that desire for spiritual wholeness and transcendence. They do not die, but simply reappear in different forms. 11
The Hero's Journey In the book“The Hero with a Thousand faces”, Campbell’s presented myth and identified its underlying pattern in a refreshing way. The Hero’s Journey is a story structure and pattern that shared in myths, religions, fairy tales and individual mystical experiences in which a hero is called to the quest and goes through a sequence of “separation, initiation, and return”. Like rite of passage, the hero will abandon his past, enter into the unknown, emerge and spiritually transformed. Campbell defines the hero as one who gives his life over to something bigger than himself, similar to Carl Jung, argues mythology, in particular the hero expresses the psyche’s drive for spiritual fulfillment. 16
The Hero’s Journey 1. Ordinary World
12. Return with Elixir
2. Call to Adventure 3. Refusal of the call
11. Resurrection
Ordinary World
4. Meeting the Mentor 5. Crossing the
10. The Road Back
Threshold
Special World
6. Tests, Allies, Enemies
9. Reward, Seizing the sword 7. Approach
8. Ordeal, Death & Rebirth
Individuation Process The Hero’s Journey is similar to the individuation concept that Jung proposed, which is a life-long task that involves facing our shadow and realizing our unique selfhood. Like the hero, we need to have courage to cross the threshold to enter our unconscious and discover the hidden, underdeveloped aspects of ourselves. According to Campbell, dragon in myths is a metaphor of our ego, and we need to kill it in order to acquire the treasures (the healthier aspects that have got lost in our shadow).
The Individuation Process
The Road of Trials Threshold of return
The Return Integration manifestation embodiment in the world
Threshold of separation
Finding a guide Facing the Shadow The Task Crisis of refuge
Presence
Unifying relative and ultimate truth
The Call
Visions of wholeness Truth of suffering Biological, Psychological Circumstantial
Bhardo Threshold of death
Crossing the Bhardo Entering the unknown liminality
Threshold of conception
Architectural Journey
Entry Sequence
The Hero’s Journey & Rite of Passage
Call to adventure Separation
THRESHO
OLD
Architectural Implications The separation-liminal-incorporation of Turner and the hero’s Journey of Campbell can be seen as a spiritual development journey that requires active mind-body involvement. Base on its universal applications and symbolic nature, I suggest that we can translate and emulate elements and patterns from both ideas to architecture and apply them to design meaningful and sensuous space that can alter user’s consciousness. The following precedents demonstrate how Turner and Campbell’s concept can be represented through architecture.
Sequence of defined spaces The road of trials Transition
DESTINATION REVELATION
The road back The return Incorporation
Temple Floor Plan
The Temple of Amun-Re Temple of Amun-Re at Karnak was the scared setting for the annual religious observances and festivals. The architecture symbolized mythological meanings and facilitated the practice of ritual and communal celebration.17 The formal and symmetrical organization of the complex suggests a sense of passage, order, and continuity. The linear and linked spaces of the path symbolized the transitory nature of life, and priesthood would be designated as the “hero� to go through the journey.
Fig. 21.
Entry Sequence The approach avenue was marked by two rows of opposing ram-headed sphinxes. They were the symbolic guardians of the temple and also the symbol of mysteries, truth and unity.
Threshold The entrance was delineated by a massive Pylon (45m high and 15m thick) , which acted as a symbolic and powerful threshold that separated the extraordinary world from the ordinary world.
Fig. 23.
Sequence of defined spaces Beyond the entrance was a large rectangular open courtyard. It was used as the gathering and waiting area during annual festivals
Pylon II marked the entrance to the hypostyle hall, which was a dark transitional space that consisted of 134 columns with incised symbols and patterns. The hall was originally roofed with monolithic stone slabs and the space was lit from above through clerestory openings. The dark and constricted space created a huge contrast to the brightly lit open courtyard, which set up a cadence of light and dark of the path
Beyond the hypostyle hall, one then proceeded along the increasingly constricted path that was shaped by pylons, obelisks, then reached to the open courtyard and the threshold to the final destination
Destination
Fig. 25.
The final destination was the Sanctuary of Amun-Re, which was an enclosed stone structure that contained the sacred barge. A series of increasingly darker and more constricted interior space was formed by the subtle change in rising of floor level and lowering of ceiling. The path sequence and its articulation expressed the belief that life progressed unremittingly toward an everlasting paradise.18
Fig. 27. Temple Complex Floor Plan
Koto-in Zen Temple Koto-in is a subtemples of Daitoku-ji, a Zen Buddhist monastery located in Kyoto. The temple complex includes a segmented path that leads to the principle building, the hojo, which is a place for meditation, tea ceremony, and is surrounded by a series of gardens.
Entry Sequence The entry court is a controlled environment which combines architectural elements with nature to provide layers of enclosure and form the edges of the path.
Threshold The main gateway separates the extraordinary world from the ordinary world, and protects the uninitiated from entering.
Sequence of defined spaces The entry court is a controlled environment which combines architectural elements with nature to provide layers of enclosure and form the edges of the path.
Beyond the hojo gateway is the gen-kan, the entry foyer of the principle building. It is a diminutive and circumscribed space that offers only limited views of the hojo beyond. The contrast between the open linear path previously traveled and the constricted foyer space set up a distinct tension.
Fig. 30.
Destination After traversing few turns, one enters the veranda of the hojo. It offers partial view of the main building and unobscured view of the garden which is perceived as the idealized world. The entire journey engenders a variety of experiences and emotional responses, which all help to achieve the emotional release of transcendence and encourage one to be aware and mindful at every moment. For example, the path is marked by a variety of paving patterns and textures , from smooth and organized to coarse and irregular, demands one to take deliberate effort to find a stable step.
Water Temple The Water Temple, designed by Tadao Ando, locates in the inland of Awaji Island. It is the residence of Ninnaji Shingon, the oldest sect of Tantric Buddhism in Japan. This example shows how contemporary architecture can apply the concept of initiation and symbolism to create meaningful and sensory architectural experience.Â
Entry Sequence & Threshold Access to the temple is not easy as the gravelled pathway is steep and long. The entrance is marked by large concrete walls with a square entryway and it marks the transition into a mystical environment. Upon crossing it, one will enter into a transitional zone where the space is marked by two smoothed concrete walls.
Sequence of defined spaces The graveled pathway will guide the visitor to an oval lotus flower pond which is cut in half by a long staircase. The descending staircase is a symbol of passage, inviting people to leave the earthly world and enter into the sacred place.
After descending the staircase, the visitor will reaches the sacred area, where the space is enveloped by warm vermilion red wooden cages and wooden deck.
Destination Access to the sacred hall is not immediate: basic geometrical elements shape the route and gradually leads the visitor to the sanctuary, offering continual surprises along the way. w The sacredness of the prayer room is accentuated by the use of colour and filtered natural light. When light passes through the wooden frames, the gold Buddha sparkles in the centre and the room illuminate in brightly red
Conclusion The preceding examples have shown by designing architectural journey that is analogous to the experience of initiation, it is possible to alter one’s consciousness through architecture. Below design elements provide frameworks for the creation of meaningful environments.
FORM FOLLOWS MEANING
understand the meaning of symbols and translate them into architecture
INDUCE THE FEELING OF AWE
awe-inducing environment can promote self-transcendence
WELL-STRUCTURED SPATIAL SEQUENCE design spatial sequences as if one is going through The Hero’s Journey
THE ART OF CONTRAST
create ever-changing environment through the play of CONTRAST: dark & light, fast & slow, enclosed & open,
compress & release
isolation & connection
lost & found
death
&
rebirth
A great building, in my o with the unmeasurable, g means when it is being d must be unmeasurable
1
opinion, must begin go through measurable designed, and in the end 19
Louis I. Kahn
Notes 1. Iain Boyd Whyte, Modernism And The Spirit Of The City (Hoboken: Taylor and Francis, 2013), p.39. 2. Smith, 2019 3. Dietze et al., 2015 4. Whyte, Modernism, 14. 5. Phill Goss, Jung: A Complete Introduction (London: Teach Yourself, 2015), p.15. 6. Goss, Jung, 188. 7. Thomas Barrie, Spiritual Path, Sacred Place (Boston, Mass.: Shambhala, 1996), p.67. 8. Cummings, 2019 9. Gavril, 2019 10. Mihaly Csikszentmihalyi, Beyond Boredom And Anxiety (San Francisco, Calif.: Jossey-Bass, 2000), p.8 11. Barrie, Spiritual Path, 29. 12. Barrie, Spiritual Path, 30. 13. Willett and Deegan, 2019 14. Goss, Jung, 237. 15. Joseph Campbell, The Hero With A Thousand Faces, (Novato, Calif.: New World Library, 2008) 16. Goss, Jung, 21. 17.Barrie, Spiritual Path, 159. 18.Barrie, Spiritual Path, 164. 19. Wilder Green, Louis I. Kahn, Architect - Alfred Newton Richards Medical Research Building. (New York, NY: Museum of Modern Art, 2011), p.3.
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