Literature Review

1.

Calligraphy, Architecture, Callitecture

“Calligraphy and architecture are all about spaces, not only 2 dimensional, but 3 dimensional (letter sculpture). By analyzing the strokes, spaces, moods of calligraphy and then generate/transform to new spaces for the building. The building can capture the essence of calligraphy and itself is a threedimensional calligraphy.”

The qualities in calligraphy which can transform to architecture:

• Equilibrium/balance

• Solid & void

• Structure of composition

• Philosophy

• Emptiness

• Subtleness

• Degree of overlapping

• Minimalism

• People who are coming to the building are creating their own style of calligraphy by the activities they participated in the building.

• Learning In transit-learning is a process/creating process, people come to the building, they shape and create the building, and they create spaces, that is the architectural calligraphic spaces.

Alice Keung, (1999) “Calligraphy, Architecture, Callitecture”

• Energy Fluidity of strokes

• Layers

• Mass Speed/velocity

• Continuity of space

• Proportion

• Sequences of Strokes

• Texture

• Naturalness

• Structure

• Motion Emotion

• Gesture

Studies of the calligraphy experience in terms of spatial planning

2. Architecture and Zen Calligraphy: Shaping Spiritual Space

Why Calligraphy as a Generator for Architecture ?

The experience of the elevation of the spirit and soul are found throughout all forms of art, including the art of calligraphy. Islamic and Chinese culture are so distinct from one and another and so unrelated, yet their art forms of calligraphy share the same elevated understanding and appreciation, the same inherent spiritual values, and most importantly, they share the common desire to animate, heighten, and enlighten the spirit (figure 5).

Path and pause

• First stroke (Cè) - seen as a starting point or entrance to the rest of the character

• Second stroke - short diagonal line that begins in the upper left corner and brought down towards the right

Figure 5: ChineseArabic Overlap – the similarities found between Islamic and Chinese calligraphy is the application of the human spirit

Siddiqui, Rubina R., "Architecture and and Zen Calligraphy: Shaping Spiritual Space. " Master's Thesis, University of Tennessee, 2007.

• Third stroke (Nǔ) - acts as the binder of the character. It is, as the name indicates, the basic structure that brings all the other strokes together; acting almost as a spine.

• Last stroke (Zhé) - dismemberment or pressing forcefully

Hajji Noor Deen, June 2006