Constructing a Preliminary Model for Designing Sacred Space

Library Progress International, 2024

The primary focus of design practice in society is meeting basic human requirements, such as physical and physiological demands, with little regard for higher-order needs, such as spiritual growth. Modern urban planning focuses primarily on the social components of public space, which are meaningless for users and lead to less socially and environmentally responsible environments devoid of human factors. Therefore, the most intimate requirements of a person must be taken care of in the constructed environment. This study looks for elements of the built environment that support locations where people can derive more meaning from their surroundings through the physical layout of the space. This research project explores the relationship between spirituality and architectural design practice to make the unseen aspects of the built world more apparent. In the framework of the built environment, spirituality is defined in this project. With a correct grasp of form, space, and elements, architecture must foster a sense of place and assist spiritual development. Architecture improves people's lives visually and spiritually and aids in the artificial framework's compatibility with the environment. Recognizing the design features that produce profound reflections beyond personal taste in certain architectural situations is important. The fundamental aspect of architectural experience is sensory, and energy forces produce emotional reaction patterns. Consistent patterns of findings, regardless of individual differences, may help architects create brain-informed architecture. Spaces represented by well-selected geometric shapes and the appropriate kind of energy create an environment that gives users the finest experience possible.

The Design Journal An International Journal for All Aspects of Design Volume 20, 2017 - Issue sup1: Design for Next: Proceedings of the 12th European Academy of Design Conference, Sapienza University of Rome, 12-14 April 2017, 2017

Religions are something related to God, but played by humans and humans require witnesses of God's presence in their lives. The production of artefacts linked to Religion is something interconnected to our society and the design discipline, beyond borderline boundaries with art and self-production, is the one that shall care of this. Through creativity and matter, design delivers the sign of a holy presence or, at least, it offers a key to the comprehension of our world. The paper would show how the three Religions of the Book, through their design, reveal cultural connections and economical relationships with the land of use and its own habits and heritage, in a cross-cultural process that demonstrates consistently integration and diversification, simultaneously separation and union. Focusing on objects and visual products, the aim of this essay is to widen integration and reciprocal understanding in the next society, through design-driven cultural process.

Progress(es): Theory and Practice, 2017

This essay introduces the theoretical and application principles of a model of analysis and spatial architectonic design called Evolutive Design. It is aimed, in the first place, at defining the “elemental components of space”, attributable to the historical architectonic and environmental heritage, that belong to a circumscribed “landscape” and are prevalently identifiable as a “homogenous spatial region”. Subsequently, the model is useful to detect the degrees of relationship existing between the various “validated elemental components” that, therefore, can be identified as “resources”. This way it is possible to come to comprehend the more or less complex structure that characterises every single territory. At the same time, it is possible to comprehend the multiplicity of the (physical and immaterial) behaviours which are to be controlled for a correct design of the anthropic space, it being related to the building, the urban space or the extended territory. From here, the study model offers the potential to assess the degrees of bond that the project can assume with the surrounding resources as well as the effects that the project might generate on the surrounding spatial dynamics. Regardless of the choice to respect, enhance or alter some orders or degrees of connection between the “resources” of a specific “spatial region”, every project (of either restoration or new intervention), ends up altering the internal “status” of such system. Hence, the validity of a model capable of providing the designers and the public administration with an evolutive tool of knowledge and control of the territory. The paper is conceptual and foundational, synthesizing fragments from several different disciplines, including philosophy, software engineering, design theory. The paper is intended to raise awareness of the farreaching implications of the architecture compared with the cultural context of belonging.

American Journal of Civil Engineering and Architecture, 2021

Spirituality is a concept that has deep meaning in the universe and is independent of time and place yet connected to architecture. It is a broad notion that touches everyone. The sense of Spirituality and its interrelation with architecture is a topic that needs research. Today's architecture requires an explanation for its effects on the spiritual growth of an individual. The term spirituality is not widely observed in today's architecture and is not used in most contemporary architecture. The past architect being aware of the spiritual growth's significance had shaped an architecture that was proportionate to that time's culture and beliefs. By using architectural elements, they had filled the objective body with spiritual beliefs. This paper presents the impact of contemplative spaces and sacred geometry on the spiritual development of a person and also it studies the relationship between spirituality and architecture. This paper also discusses how architecture and contemplative spaces accelerate the recovery rate and the individual's spiritual journey.

The paper intends to analyse the common ground between the field of visual perception and architectural design. The architectural product always addresses an user, who will react in a certain way towards the architectural object, towards built space, towards her/his environment in general. This relationship is bidirectional and its effects are visible both ways: we modify the environment through the designing process (architecture, urban planning, design in general) and the (built) environment modifies our behaviour. In this context, it is crucial that we understand the functioning mechanisms of the perceptual processes - which will be detailed throughout the first part of the paper. Perception is indeed a very complex process, that involves gathering information through our senses; processing it - which implies analysing the received information and comparing it against previously gathered knowledge, based on past experiences -; and formulating particular responses - also based on previous experiences. Perception is in essence a highly creative process: although we relate to the same reality, we will perceive it in a different way according to what that environment means to each of us. The second part of the paper will study several parallel theories on perception developed by architects, urban planners and psychologists. We will also pay special attention to several conclusions reached by Jean Piaget and Bärbel Inhelder upon the way in which perception develops from an early age. These studies are essential in establishing a growth and progression pattern throughout childhood, relating it to the different stages of the development process of space perception. Finally, the third part will present two case studies focusing on the manner in which users, with different cultural backgrounds, perceive the space they inhabit and, another two case studies, which show how and why users change their environment - cases in which the designer failed to produce spaces with meaning according to the users’ paradigm.

Pitchaya Tangtanawirut , 2021

In our current society , The rise of Psychology has become an important factor to influence the future architectural design and drive the crowd differently. The psychological and cultural driven factor which possibly leads to the new or recreational way of receiving Media through our visual perception that plays roles to our community and architecture on the crowd behaviour. In this case , we are still wondering: Can our visual perception shape the way we behave in space? Referring to the study in relation between Crowd Emotional feelings and action tendencies mentioned that People tend to feel connected and happy when they are attending the event compared with the non-event situation which tends to gain negative emotions among the crowd which leads to aggressive behaviour. Also with the influence of Human perception and Media, the Social experiment of Traumatic Film Paradigm ,most people tend to remember and recall the extreme memory from the media they received and also influence their decision and perception of each place. We utilize and analyze the data from the Experiment, Research and online article as the supporting point of claiming that Psychology has to become the main factor to drive Biopolitics, the space made for people and by people. the possibility of reshaping the crowd in the space through research of Visual Perception , Proxemics and also the territories which influence the crowd movement. Start by studying through very tiny to large scales including our mind, (Decision making to join the crowd), our body(Proxemics and Personal Boundaries) , and Tangtanawirut 2 Our space (Exploration through different types of crowd). In this case, we can apply these studies to create predictions of being together in the public space through redesign of street infrastructure , furniture and also the reformation of regulations to let us be together safely and happily in the public space. We all want our street to feel like home and to be able to dress and act whatever you can be. Again , we claim that Psychology can possibly shape our future civicness to balance emotions and perception of being together as the crowd.

Phenomenology concerns the understanding of the relationship between human experience and the environment. In architectural design, phenomenology shapes the space beyond visual aesthetics, considering all sensations, touch, sound, smell, and taste through the emphasis on human relations with their surroundings and meanings upon them. The movement began in the 1950s in parallel to modernism and the emergence of modern technology, reaching its peak in the late 1970s. However, experiences are subjective. The movement faced heavy criticism and has worn down since. As the phenomenology used in architecture is often based on one’s perspective, the architect, that perspective is forced onto the so-called ‘universal’ design. Nevertheless, some architects still found its importance in architecture and redefined the term ‘Critical phenomenology’ to properly implement the theory in architecture. The research paper will explore the phenomenology approaches through the studies of different architects and philosophers, and their criticism, discussing the potential of the method to implement in architecture further

CUA Magazine, 2012

Note on Sacred Space vis-a-vis the Catholic Faith and the Catholic University of America program on the subject. In addition to other people, Bermudez is cited a few times on the subject.

Architecture is not only about creating spaces but more importantly addresses the quality of place and users' experience. With certain intentions, the architect deploys form and choreographs the movement through space, harnessing various elements collectively to tell a story. However, the message is conveyed to the users successfully only when the senses are simultaneously addressed, and a relationship is created between the individual and the environment. This results in blending one's internal space with the experience of the world beyond, identified as "quality" (Zumthor 2006) or "life-enhancing" (Pallasmaa 2012) architecture. In this paper, the authors are particularly curious about the spiritual experience of Islamic architecture. Their research acknowledges the distinction between spirituality and religiosity, underscoring that transcendental qualities in space can be grasped by all people regardless of beliefs. The goal is not to say that all spaces are equal and that all buildings should provide an enhanced spiritual experience, but to examine those that have the requisite qualities so that designers can seek a better understanding of the concept of 'quality' space. To do so, this research serves to identify key criteria necessary in the exploration of spirituality as well as uncovering the importance of meaning, relationship, and resonance, more specifically, in Islamic architecture-together creating a transcendental encounter. Architecture is more than seeing. Transformative places can be felt with the heart and spaces can be experienced without sight. Sacred spaces in Islamic architecture are often intended to detach us from our materialistic lifestyle and unite us with our genuine internal state. Transcendental spaces aim to lift us into a realm beyond our logical mind (perceptual) to the inner space of the soul or the numinous place (Otto 1970). This special feeling or spark is universal and not solely limited to sacred architecture. The present paper explores a set of criteria developed by the authors and considers their importance in delivering transcendental architecture. For the second part of this research, which lies beyond the immediate scope of this paper, the research examines the application of the developed criteria in various high profile case studies for understanding the art of orchestrating architectural features and elements in delivering the notion of "flow" and "unity" in Islamic architecture through the lens of Sufism. This research interrogates the status-quo through a literature review and considers several well-known case studies known for their transformative qualities and a heightened sense of place. The research, in a larger sense, evokes logical argumentation to develop a conceptual framework including initial design parameters/guidelines, targeted to begin the journey of developing a conceptual framework including initial design parameters/guidelines, targeted to designers and architects aspiring to elevate their design potency and spatial mastery to reach transcendental and performative ends. The authors, at the current junction, seek a balance between provocation/speculation and rigor/discipline along with the identification of connections between several vital elements-sacrality, self, space, and wellbeing. In this paper, the authors conclude that many of the illuminations and recommendations revealed through this research find applicability in religious and spiritual traditions beyond the confines of Islam.

Design Philosophy Papers, 2010