ARCHITECTURE: A TRANSFORMATION OF THE

INNER SELF

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A Dissertation Submitted to the Department of Architecture of the

University of Moratuwa

For the partial fulfillment of Master of Science In

Architecture

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By

Kanchana Abeyasinghe

University of Moratuwa 2003

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brought to you by COREView metadata, citation and similar papers at core.ac.uk

provided by Digital Repository, University of Moratuwa

To

Ammi, Thaththi

Asanka and Thara

'Beauty is life when life unveils her holy face But you are life and you are the veil

Beauty is eternity gazing at itself in a mirror But you are eternity and you are the mirror'

iii

Contents List of Figures vi Acknowledgements xi Preamble xiii

Introduction 1

Chapter One THE JOURNEY OF THE SOUL Seeker of Beauty 7

1.1 Beauty: An Engagement of the Soul

1.1.1 Beauty: A Right to Exist 9 1.1.2 Soul Purification and the Regaining of the Equilibrium 11 1.1.3 The Engagement of Beauty and Emotions 12 1.1.4 Beauty is truth 13 1.1.5 The Oneness Within 14

1.2 Art: The transcendence of Thresholds

1.2.1 Crystallized Emotions of the World Soul 16 £ 1.2.2 Art: A Function of the Whole Man 18

1.2.3 Art: Oneness and Tranquility 19

Chapter Two BEYOND UNINTELLIGENT NERVE ENDS Unveiling The Secrets of the Heart 21

2.1 A Limited Perception of the Mundane World 23 2.2 Simplification and the birth of illusion 26 2.3 Looking beyond the 'finger' 28 2.4 Unity within 32

Chapter Three AWAKENING OF THE SOUL

fc The Adobe of Tranquility 34

3.1 The Boundless Realm of the World Soul

3.1.1 Architecture: Beauty within, beamy without 36 3.1.2 The Art of Architecture 37

3.2 Space: An Acknowledgement of Humanity

3.2.1 Space: The Amorphous, The Intangible and The Invisible 39

3.2.2 Space: The Symbolic Manifestation 40 3.2.3 The Idea of Space 41

3.3 Contained And Content Within The Sacred 43

Chapter Four THE SUPREME SPACE OF ETERNAL TRUTH Bridging The Corporeal And The Ethereal 45

4.1 Stupa: The Ultimate Symbol of Space 47 4.2 The 'Attractive' Configuration 47 4.3 Centre: The Adobe of Tranquility 51 4.4 Circle: The Divine enclosure 53 4.5 The Return To The Centre 65

Conclusion 71

Reference 73

Bibliography 75

List o f Figures

Figure pa Title page - Chapter I Source: wvw.picture.com 7

Title page - Chapter II Copyright ©2002 Tammy Means Source: www.picture.com 21

Title page - Chapter III Source: www.picture.com 34

Title Page - Chapter IV-Sanchi Stupa India

Source: www.indianest.com//writers/ashishnangia.htm... 45

Conclusion Source: www.ems.psu.edu/cause/cause2001/ cropolis%20from%20stoa.jpg

Fig. i Frantic cityscape Source: www.picture . com 2

Fig. ii A walk on the path of tranquility Source: www.kestan.com/travel/honukona 3

Fig. 1 An enchantment beyond utility, Source: www.picture .com 10

Fig. 2 "Beauty is omnipresent, therefore everything is capable of giving us joy" 15

Fig. 3 Music - The universal 'language of the soul' The embodiment of feelings in notes Source: www.kutztown.edu/acad/cvpa/pa_center/

brochure/page 11.html 16 Fig. 4 Romeo and Juliet

An eternal human experience embodied in art Source: teatras.mch.mii.lt/Teatras/ Klaip_dram_teatr.htm... 17

Fig. 5 The Swan Lake Giving expression to inner feeling source: wvvvv.nla.gov.au/puh/nlancws/

I'ebiuaryOO/dance.html 18

V I

Fig. 6 A Moment of Ecstasy Meditation upon Oneness of self Source: www.argenthotel.com/images/ gallery/ Meditation.jpg 20

Fig. 7 Half empty? Half full? The famous notion, which depend on the attitude of the beholder Source: www.wineglasses.co.uk/resources/ perception.jpg.. .25

Fig. 8 Parallel Lines Illusion parallel lines appears crooked in front of a diagonal pattern, Source: www.racingsmarter.com/images/

Perception%20Face..)PG 26

Fig. 9 Circle Illusion The two centre circles are similar in size although appears different. Source: www.racingsmarter.com/iniagcs/

Perception%20Face.JPG 26

Fig. 10 Big Ben trough the gates In reality this is much shorter than an ordinary spectator would view it. Source: www.kestan.com/travel/dc/monument/IMG 27

Fig. 11 Arches exterior Union Station (looking toward postal museum) Washington D.C An indulgence of the whole Source: www.kestan.com/travel/dc/monument/ IMG 28

Fig. 12 Statue of David An excellent manifestation of beauty Appeasing the beholders senses Source: www.ithaca.edu/.../ Statue%20 David%20Florence,%20Italy.jpg 29

Fig. 13 Dance of Shiva In the true sense a deformed figure, but its meaning brings forth much deeper and eternal beauty source: www.askasia.org/imagc/ photos/i(J00232.gif 30

VI I

Fig. 14 Face and Vase Simultaneous perception of both is impossible Source: VAVw.racingsmarter.com/imaRes/

Perception%20Face.JPG 32

Fig. 15 Unity of wholeness The mountains, lake, trees and the sky have a completeness of their own, yet as a whole creates timeless beauty. Source: www.picture .com 33

Fig. 16 calling for mind elevation * Naoshima Contemporary Art Museum,

Kagawa, Japan Source: www.pritzkerprize.com/ images/naoshima.gif 40

Fig. 17 The Idea of Space Ron champ Chapel -France Source: falcon.jmu.edu/.../ 21.corbu.ronchamp.int2.jpg 41

Fig. 18 Parthenon Source: www.tropicalisland.de/ ATH%20 Akropolis%20Parthenon.jpg 42

Fig. 19 The British Museum • Source: www.kestan.com/travel/London 42

Fig. 20 St. Peter's Rome Source: www.romanhomes.com.index.htm 43

Fig. 21 Celts of Brittany and Ireland mounds Known as Cairns The Tombs of the deceased -representing the cosmic Dome Source: www.archrecord.com 48

Fig. 22 Shyakyamuni- The physical harmony and beauty of the Great Being Source: www.buddanet.net 48

Fig. 23 Primordial formation of the Stupa Source: wvvw.jbburnett.com/stups 49

Fig. 24 Composition ol the cube, sphere and c o n e in one axis Source:www.abm.ndirect.co.uk 49

viii

Fig. 25 sectional view of Stupa Source: www.jbburnett.com/stups 49

Fig. 26 3-D composition Source: www.jbburnett.com/stups 49

Fig. 27 The Stupa - an amalgamation of earth, water, fire, air and space Source: www.huddanet.net 50

Fig. 28 The gateway of Sanchi placed on ' Source: www.archrecord.com 51

Fig. 29 The formless timeless centre in the emptiness of the space Source: www.makaandukaan.com 52

Fig. 30 The Divine Enclosure Source: www.makaandukaan.com 53

Fig. 31 Mandala Source: www.archrecord.com 54

Fig. 32 Borobudur- The Diomend Mandala Source: www.dharmaring.org 55

h

Fig. 33 Borobudur- 3D form Source: www.buddanet.net 55

Fig. 34 circumambulating around the galleries and terraces Source: www.buddhanet.net 56

Fig. 35 Mandala a representation of the Dharma body Source: www.archrecord.com 58

Fig. 36 Stonehenge, England Source: www.abm.ndircct.co.uk 59

Fig. 37 Ancient Stupa in Sri Lanka Source: www.abm.ndirect.co.uk 59

Fig. 38 Plan for San Giovanni de' liorcntini Source: www.aechrecord.com 60

Fig. 39 The Japanese Moon Door source: www.scn.org/earth/garden/ newpage7.htm 60

ix

Fig. 40 The Celtic Round House S o u r c e : w w w . gallica.co.uk/celts/house-pan. htm 61

Fig. 41 Interior Source: Ibid 62

Fig. 42 External Appearance Source: Ibid 62

ft Fig. 43 Hakka Housing

Source: vAvw .chinats.com 63

Fig. 44 Hakka Housing source: Ibid 64

Fig. 45 Siheyuan - Beijing (Quadrangle: a compound with houses around a square courtyard Source: Ibid 64

Fig. 46 Japanese Zen (rock) garden Source: www .japanesegift.com 64

Fig. 47 Courtyard house - Beijing The feeding of the intangible and invisible circle in the enclosure of the corporeal mass Source: www.depts.washington.edu 65

Fig. 48 Parcheesi - an Indian board game Source: www .archrecord.com 65

Fig. 49 Gateway of Sanchi Source: www.buddanet .com 66

Fig. 50 entrance doorway of the courtyard house of Beijing Grand and non-obstruct path toward the centre.

Source: www.depts.washington.edu 67

Fig. 51 Satellite temple at Anghor Wat (Cambodia) Source: www .archrecord.com 68

Fig. 52 Stonehenge, England Source: Ibid 69

x

A c k n o w l e d g e m e n t s

To the Department of Architecture,

The work I am presenting to the Department of Architecture is nothing but the harvest of your guidance and mindful advise throughout the years. And this would have not been a reality unless your contribution towards it. Prof. Nimal de Silva, Head of Deprt., Department of Architecture

Archt. Vidura Sri Nammuni, Senior Lecturer, Dept. of Architecture, - for being a solid foundation during the initial stages

Dr. R. Emmanuel, for the initiation and essential awareness.

Archt. Channa Daswatta, for the long and hard journey, which made this work a reality and for the invaluable guidance and advice provided along the way.

Archt. Ravin Gunarathne for being a source of inspiration and encouragement

Archt. Prassana Kulalhilake, for the precious guidance and information

Situmina. for the valuable knowledge shared

Sasanka akki for information and advise

My clear friends whom helped me in numerous ways Especially, Sippy, Ravi, Thandu, Priyanka. Upuli , and Gayan

Najeeba and Pavan, for going through an arduous routine to print the dissertation

Group discussion, lunchtime arguments and CDP conversations and crits, which provided many insights in to issues burning inside

My Sisters, Asanka and Thara, with lots of love, for being there for me in good times and bad,

My Parents, for their love, patience and concern.

For all those whom I failed to address but will always be cherished for widening my horizons of life, and taking me out of the maze of limitations I have created for myself, And giving me a new start to life by broadening and deepening my views of life.

Thank you

"The Japanese tea master Sen ho Rikyu built a teahouse on the side of a hill over looking the sea. Three guests were invited to the inaugural tea ceremony. Hearing about the beautiful site, they expected to find a structure that took advantage of the wonderful view. After arriving at the garden gate, they were perplexed to discover a grove of trees had been planted that obstructed the panorama. Before entering the teahouse, the guests followed the traditional custom of purifying their hands and mouths, at the stone basin near the entry. Stooping to draw water with a bamboo ladle, they noticed an opening in the tree that provided a vision of the sparkling sea. In that humble position they were awakened to the relationship between the cool liquid in the ladle and the ocean in the distance, between their individuality and the ocean of life."

( L a w l o r , A . , 1 9 9 4 )

Preamble

Emotions are stirred by a sudden stroke of truth. One must find means to understand

rather than perceive the surface to be awakened. For it is an inward process. The

encounter of truth moves one emotionally taking root in him later on triggers the intellect.

It enriches the dwarfed emotions and re-establishes the lost equilibrium of the overgrown

intellect and diminished emotions. This is beauty, regardless of its physical existence.

Beauty is omnipresent in many forms and shapes but without the consent of man, finds

no means to realize it self and therefore is unable to offer joy.

Art crystallizes the hidden beauties in its manifestation. It is essentially an act of beauty,

both on the surface and in depth. The former attracts, appease the senses, attaches and

fulfills a function of the heart. It arouses curiosity of its beholder, making him transcend

the thresholds into the deeper regions. Therefore, former makes way to the latter. Man

ultimately beholds beauty- the truth embodied in art. He realizes self as opposed to all

beings, enabling detachment and refinement. Art, in this sense, carries both attachment

and detachment, of joy and of truth. Art, therefore, has the power of transcendence it

takes him from one state of mind to a better. Thus, transforms.

But, is it not the beholder who comes to the final decision of transformation? Is it not his

temperament, mood, attitude, experience and knowledge that decide for him and does

beauty not lie in the beholder's eyes? The greatest truths, of cosmos, of Enlightment

awaiting vainly at his feet is of no worth had he not seen, perceived and comprehended.

Therefore, the process of transformation is dependent on its beholder. It could be an

instant occurrence or an event of a lifetime.

On the other hand, there seems to be no assurance of his perception (of the surface) to be

a proper one. The limitations of perception are immense and firm and at times

misleading. These exist within the physical boundaries, where the senses alone reside.

Hence, one cannot depend exclusively on his observations although the senses are the

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only means man has in perceiving the world outside. One ought not make a final

judgment dependent solely upon the unintelligent nerve ends. For it is never an index of

understanding.

Architecture, of all art is the most closet to man, therefore its effect upon man's psychic

is far greater than any other art, for he continuously reside in it. Architecture is the proper

organization of space, in the simplest terms. Although space appears to be nothing it can

be impregnated with meaning by its proper configuration. Once contemplated on it can

transcend its beholder. This is the art and beauty of architecture, in the true sense.

The study is, thus, focused on the transformation of self, through the meaningful

intercourse with space-the minute construct of architecture. Furthermore, architecture is

considered an art in contrast to buildings as mere functional boxes, which store people

and automobile.

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