The Importance and Impact of Perception in a Place of Worship Case of Study: Cathedral, , Sawah Besar,

Name: Helen Pangestu Advisor: Mohammad Nanda Widyarta

Department of Architecture, Faculty of Engineering, University of

Abstract The occurrence of perception is, without a doubt, a crucial part in our existence in the world. The body, in its ever present and compatible nature to the soul, deals with abstract information all the time. Our perception comes in neither uniform profile nor intensity, let alone is consistent over intervening periods. Our judgment abilities enable us to be conscious and reason with our brain, to function properly in response to the environment made known to us in blood and flesh. The question mark lingers, “How do we perceive beyond the created, that is the Creator?” It exists outside our physical reach, but it is there and it is felt. Here I will seek the connection between the material object that is us and the spiritual being that is our object of worship using an architectural approach and the Jakarta Cathedral as the case of study.

Background The church is one among the diverse range of faith groups places of worship which succeeded in surviving to this day. It is a place for Christians to pray and praise God, and to hold various religious rituals, such as sacrament and baptism. The church has evolved over two thousand years, due to architectural trends which come and go, but mainly as a result of a schism in ideas and traditions. Christianity was established in Jerusalem in the 1st century, steadily spreading throughout the Near East and Europe, and by the 15th - 17th century, which is also known as the Age of Discovery, the church expanded around the world, including Indonesia. With evangelical motives and dreams to dominate the global spice trade, the colonial Christian empires, the Dutch, to name a few, invaded South East Asia for trading and missionary purposes. Churches of various denominations were built, and one of them is De Kerk van Onze Lieve ten Hemelopneming, or the Jakarta Cathedral (Antonius Djikmans, 1901). It is a Catholic church in Central Jakarta. It adopted the Neo Gothic style, and like its ancestors, it is infused with sacred symbols with a story. The ornamentation presents a mix of power, papal and imperial. One is eternal, spiritual, and true, and the other is temporal, material, and limited. They are not just decorative ornaments, they serve as an agent of delivering the gospel to the people, and indirectly, contribute in forming the idea of worship. Each person bows before the altar with their own sentiment directed to God, thus the experience of grasping the presence of God is personal and unique. It is not something entirely supernatural, because there are other elements, which maybe are just as mysterious, yet are much less powerful, that are involved. They produce sensations which are captured by our body and processed by our mind. They help to shape our views, presumptions, perceptions and our reality of experience. However, these is simple raw information and is neither coherent nor organized. At this stage, a philosophical approach is required to explain the physical phenomena. It is more than what we see, what we hear, what we smell, what we touch, and what we feel. It is about consciousness, which brings us to the big question: What is the importance and impact of architecture in forming our understanding on the object of worship?

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Literature Review The body is the key to understand Phenomenologie de la Perception. It constitutes an abundance of material organs, linked to one another, together performing various duties at various duration and intensity, in order to respond to the signals from its environment. The eye, for instance, very much contributes to the act of perception. To see is to have an object in the visual scope of the eye and to be able to communicate it. The mind, like the lens, the retina, the optic nerve, is just as involved in the act of seeing. It breaks down the visible objects offered in the view into two categories: which one is the focus of the eye and which one complements it in contextual terms. Both of them are important and inextricable. We absorb the the circumstances which form the setting of an object to see its relation to the object, and we lose them when our focal concentration on the object increase, “because to look at an object is to plunge oneself into it, and because an object forms a system which one cannot show itself without concealing others”. (Merleau-Ponty, 1945, pp. 78) The body plays a vital role in the act of perception. It places itself as the subject, and everything in the world, outside the body, as an object. We see one face of it at a time, and there are infinitely many faces of it which we can see from viably many perspectives. All the perspectives, compiled together in one instance, is the total being of the object. It is, however, not a clear and honest perception, it is a rather ambiguous perception formed by the the capacity of the body to participate and to understand the world and its meaning. He stated that an object is a mirror of all others (Merleau-Ponty, 1945, pp. 79) to which I do not quite agree. Our body may be seen as a reflective surface to its surrounding, because we are, in fact, a living thing with a mind to reason and be conscious, so we can react to the world. We are also gifted the ability to change, both physical and mental, in contrast to other objects, non-living things which do not have the capacity to communicate their perception. They are not an imitation of the environment because they can neither show signs of change nor respond to time. They exist for what they are. I think our body is unique in a way that each is blessed with distinctive physical and mental features, but at the same time, given its flexibility to change, is also strongly shaped by our surrounding. It is relevant to the purpose of site study in the Jakarta Cathedral because it enables us to have a universal scope in perception with enough room for differences in experiences to discuss. The body is granted a position as the point of view of the world, and at the same time, the object of the world. It is an object we use to observe other objects. It is an object which does not leave “me”. Some of it is visible to the eye, and some are not. The body, in its entirety, become visible when we face a mirror, but it is not the real objectification of the body, since a real object exists independently. What we see in the mirror is an imitation of ourselves, not a real body which acts separately on its own. This is why the body is not a “real” object. It cannot be objectified. It shows a quality of physical subjectivity and spatiality, of the self and of the world, for example: when we touch an object, say a pen, we directly objectify it as an object, but it is not the case when we touch our left hand with our right hand. We cannot objectify the former with the latter, as we feel a connection of sensation, both at the same time, of touching and of being touched. The sense of reflex is natural to man. The body is dynamic. It is able to make movements when faced to a task. This is why its spatial quality is not of position but of situation. (Merleau-Ponty, 1945, pp. 103) The unique feature places us as the principal axis and point of view in experiencing and perceiving the Jakarta Cathedral, or the environment in general. The body, aside from its psyche as the center of perception, shares the function of communication with language. A language, in the first place, is understood as no more than the actual existence of verbal images, or traces left in us by words spoken or heard. These

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images, claimed to be given meanings in the state of consciousness, can stand for themselves without any interaction of contribution to the true carrier of the meaning, thus they have no significance to the object. It is an external sign of an internal recognition. “This is why consciousness is never subordinated to any empirical form of speech, and why language can be translated and learned.” (Merleau-Ponty, 1945, pp. 469). Aside from its initial cause to provide protection and privacy, architecture also serves as a mean of communication. The structure of a space is often embedded with a story or philosophy linked to the type of activity taking place. It is very visible in places with long established customs like the Jakarta Cathedral. The images of Jesus and other Bible-based personalities on the walls serve not only as a decorative element but also a reminder to all of His torment and death. The body also identifies gesture as a way of communication. The world is experienced through natural perception, so as it be in contact with an object, the object is intentionally offered at the same time as the gesture itself. Verbal gesticulation, on the contrary, is initially invented to communicate. It gives cultural background, which the nature does not, and establishes a common world between the subject and the object perceived. It does not exist prior to the culture it represents, in fact, the culture forms the language as an agent of communication in which it strives to survive. Each language is unique. The English in an English speaking nation is different to English in another nations, because alteration occurs in accordance to the cultural interpretation of the language, hence there is American-English, Indonesian-English, and so on. Culture and language grow and change in subtle forms sometimes we do not even realize. Like a lens on a camera, we see the world only in the categories of our culture. So, it is not possible to translate the meaning of a language and its totality to other languages, for though “we speak several languages, but only one of them remains the one in which we live”, this is why there is no such thing as universal thought. (Merleau-Ponty, 1945, pp. 218) Cultural expression, as seen in verbal gesticulation, can also be found in architecture. A style of a building symbolizes an era and a system of ideas and ideals. It tells us about a particular point of civilization of a particular society in a particular place. The Jakarta Cathedral, for instance. It adopted the Neo-Gothic style, which rose at the end of the 19th century in Europe. It demonstrates their desire to reach out to God, and at the same time, the development of knowledge in construction. The act of perception in the world is composed of layers of facets. The object which we perceive is not always of its individuality, it may be a unity of value, which we have felt it in numerous occasions and become aware of until a part of it is changed or removed. The act of perception, nevertheless, cannot occur in imagination. The realm of imagination does not allow us to form any intention to see, but only believe that we have already seen it. It does not answer to our effort to switch perspectives or to conduct observations. It also does not acknowledge the idea of time, so in dreams, it is natural for us to know what a person want to convey as soon as he or she opens their mouth. (Merleau-Ponty, 1945, pp. 377) I think it is important to identify consciousness in experiencing the world because it decides whether or not it incorporates perception. The body alone is not able to perform any action. The body and the brain can function but in an extremely restricted way and it is likely to veer into false cognizance when consciousness is not involved. The body, the brain and consciousness, on the other hand, culminate teamwork between the senses and the sensibility, and enable us to respond to our environment and to reason in line with our ratio. This is perception. Configuration The focus of this thesis lies on two endings. First is to do a literature review. I chose Phenomenologie de la Perception (Maurice Merleau-Ponty, 1945) because he prioritizes the study of perception in order to develop a far-reaching description of body based experience.

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The idea is extracted and developed by the author, as a philosophical premise for the site study. Second is to conduct an architectural research. I chose the Jakarta Cathedral as the case of study because the antique facial features present the richness of a much celebrated custom in Catholicism and distinguish itself from the landscape of architectural modernism around us. It is an ideal example for the study of perception because it utilizes its architectural features to deliver something to the people. The site study is divided into two parts. First is personal observation which covers information on historical and technical aspects of the Jakarta Cathedral obtained from the internet, local and international publications accessed in the library of Universitas Indonesia. Second is interaction with permanent and temporary users of the Jakarta Cathedral from March to May 2013, and dialogue with the architect in charge of its renovations, Han Awal. The rate of occurrence and time of visit is arbitrary, and so are the participants. The result of independent study is later put in comparison to the survey and the interview to see the common surmises of perception in the Jakarta Cathedral. All is presented in written form and images are included when needed. Plans, sections, and elevations of the Jakarta Cathedral were digitally handed by Pusat Dokumentasi Arsitektur and were then processed into charts, graphs, and other visual maps. Photos and sketches of the Jakarta Cathedral were taken and made by the author unless stated otherwise. Architectural Research The Jakarta Cathedral is located in Central Jakarta. It occupies a specific ecclesiastical status which other churches do not have, as it carries out regular liturgical rites and serves as the throne of the bishop.

Figure 4.1 The dimension of a setback often signals the importance of a building

Source: Body, Memory, and Architecture (pp. 3) Its importance is also visibly implied from its exterior. The Jakarta Cathedral, like Mesjid Istiqlal, Istana Merdeka, and any other buildings of major religious and historical importance around it, have significant setbacks. This particular layout indicates at least three purposes of its existence: First, it is Figure 4.3 The facial features of the open for public. Second, it gives a measure of prestige and Jakarta Cathedral independence, and sometimes calls for attention of its Source: Pusat Dokumentasi Arsitektur existence and civic importance. Third, it adds value to the as interpreted by the author interior by creating a usable exterior arena. According to Bloomer and Moore, “in some ways it recalls the personal envelope around the bodies, and of which any violation or infringement is acutely sensed.” 1

1 Bloomer, K. C., & Moore, C. W. (1977). Beyond The Body Boundary. Body, Memory, and Architecture (pp. 4). London: Yale University Press.

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Figure 4.2 The setback in the Jakarta Cathedral The Jakarta Cathedral has three spires. Two of them are 60 meters tall and located in front of each side of the portal. (1) The south tower is called the Ivory tower, whose whiteness and pureness resembles the Virgin. (2) The north tower is called the Fort of David, because it presents Mary as a sanctuary. (3) The third spire, rising 45 meters just above the crossing, is called the Angelus Dei tower. The main entrance, located at the south, is decorated with (4) Rose window: A circular window with complex design which resembles the flower, Rose and (5) The statue of Mother Mary: marking the balance of the church.

Verticality, as stressed by the spires, is expressed in order to suggest a heaven ward direction. In the Fort of David is kept a medium sized bell from C. G. M. Van Arcken in 1900, which chimes three times a day, and another two in the Ivory tower. The large one was from Chase, a senator in India, donated in 1931, and the small one was donated by J. H. de Wit in 1834.

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Figure 4.4 The first floor plan of the Jakarta Cathedral

Source: Pusat Dokumentasi Arsitektur as interpreted by the author The narthex is the covered shelter projecting in front of the entrance of the church. The towers frame the stairs to reach the second floor, which now houses the historical artifacts of Catholicism in Indonesia. The nave, the longer arm of the building, is where the congregation is seated, while the aisles are used to accommodate the congregation when it is full. The transept, the shorter arms of the building, are used for supplementary chapels, usually on weekdays. The apse, the most important part of the church, is where the altar is. The ambulatory is reserved for the choir and elders of the church, the chevette is used as storage for ceremonial related artifacts, and the crossing is where the various religious rites meet. The picture shows the range of access in the church. The darker it is, the more exclusive it is.

The Jakarta Cathedral practices the expression Ad Orientem, which is Latin for “to the east”, Figure 4.5 Ad Orientem meaning the people, and incidentally the space, should worship in this particular orientation, even Source: http://procaritateveritatis.blogspot.com/2010/11/ if it means the congregation has to face the back ad-orientem-offering-mass-toward.html of the priest who faces the apse.

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The Jakarta Cathedral prides all of its visually pleasing architectural forms which mainly derived from technical and spiritual considerations. Both the exterior and interior boast the importance of verticality. On the outside, the towers, doors, windows, buttresses, moldings of flowers and figures of Our Lady Mary, are all slim and projected perpendicular to the ground.

Figure 4.6 The verticality in the Jakarta Cathedral

Source: Dokumen Panduan Konservasi (pp. iv) On the inside, verticality has no less of importance. The nave and transept are carpeted with black and white checkered granite tiles, while the apse is distinguished by its slightly higher elevation plus red and brown flooring with gold accent. Beside their artistic values, the floor patterns also indicate a line of division on whether or not people can access it. The arches at the openings of the church show that the need for a long span structure is able to inspire beautiful forms for its doors and windows. The sharp edges point to the sky. The pillars soar from the ground up to meet the ribs of the vault, like a tree spreading its branches, adding visual and structural strength to the space. The repetition of lines creates a illusion to the eye. For example, girls with thick body line are encouraged to wear clothes with vertical stripes for a slimming effect, while clothes with horizontal stripes flatter girls with thin body line by creating a more plump appearance. The visual perception is similar in architecture. Verticality, exploited in such way, has its objectives too. It gives people a sense of its slender lines, and in the fullest extent, a feeling of ascending aspiration and union with God. This is an intrinsic and universal feature found in churches around the world.

Figure 4.7 Clockwise: The floor, arches, and pillars The nave is lined with images of the Via Crucis and crimson curtain tromp l’oeil ceramic tiles, while the apse, which was white at first, is now painted in ivory. The sunlight which invades the church is filtered by the stained glass with the rose motive. It adds an authentic ambience of Gothic architecture to the space. The ceiling, switches from using natural stones like in Gothic era to wood for additional support as well as acoustic and aesthetic purposes

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which resembles the bones of the church. Han Awal argued that this imitative nature in construction is done in the interest of forms and effects of devotion, which survive under the genre Neo Gothic today. Verticality in Jakarta Cathedral is intensified with careful considerations. The nave, the part in which the congregation is seated, is directly exposed to the view of the roof. The nave, measured from pillar to pillar, is around 5 meters wide, while the roof is 17 meters. As a ratio, it is 17:5 or 3.5:1, which verifies the theory: the proportion of the width and height in Gothic works is normally greater than 2:1.2

Figure 4.8 Clockwise: The wall, glass, and roof The Jakarta Cathedral deliberately incorporates Biblical stories in its decorative schemes, emphasizing visual allegories of the Old Testament and the New Testament. The walls were elaborately trimmed with Via Crucis, or Way of the Cross, is a series of visual renditions of the Christ bearing the cross to Calvary, where he was crucified and died. It was made out of fresco ceramic tiles in the Netherlands in 1927. It was heavily influenced by the Art Deco movement of the Nieuw Amsterdamse School, developed by Berlage in architecture, and Toorop in art. Each illustration comes with a title at the bottom and is presented to help people in meditating upon Jesus’ torment and death. It usually takes places on the Fridays of Lent, and is one of the most popular form of devotion in the Catholic religion. The set consists of 14 scenes in the following order:

Figure 4.9 Via Crucis 1. Jesus is sentenced to death, 2. Jesus carries his cross, 3. Jesus falls for the first time, 4. Jesus meets his mother, 5. Simon helps Jesus to shoulder the cross, 6. Veronica wipes Jesus’ face, 7. Jesus falls for the second time, 8. Jesus meets the women of Jerusalem, 9. Jesus falls

2 Gothic Architecture: History, Designs, Rayonnant/Flamboyant Style, Pointed Arches, Flying Buttresses, Stained Glass Windows, Cathedrals, Chartres, Reims, Saint-Denis. (n.d.) Art Encyclopedia: Visual Arts Guide To Painting, Sculpture, Architecture: Greatest Artists, Best Museums. Retrieved May 15, 2013, from http://www.visual-arts-cork.com/history-of- art/gothic-architecture.htm

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for the third time, 10. Jesus’ clothes are taken away, 11. Jesus is nailed to the cross, 12. Jesus dies on the cross, 13. Jesus is taken down from the cross, 14. Jesus is laid in the tomb. The Jakarta Cathedral had a large portion its of artifacts sent from the Netherlands, for example the religious relics (now kept in the museum) and the three altars. The artifacts includes of the Altar of Saint Mary on the left, the Altar of Saint Joseph on the right, and the main altar, dedicated to Jesus, at the center.

Figure 4.10 The three altars The Altar of Saint Mary is embellished with sculptures of objects representing her titles, they are: the Heaven’s Door, the Ivory Tower, the Fort of David, and the East Star. Its counterpart, the Altar of Saint Joseph, has a portrait of Joseph holding a lily, as a connotation to his innocence. The main altar, as the focus of the space, is relatively big compared to the other two. It was built at the end of the 19th century, transported all the way from Groningen to Jakarta in 1956, and was put together two years later. It is easy to notice the gold three dimensional figures and scenes carved into it. The tabernacle, a cabinet in which a ciborium with the reserved bread is placed, is located at the center. It is surrounded by a cross and angels on the top, five saints on the left: Matthew, Mark, Luke, John, (or the writers of the first four books in the New Testament), plus Paul, five saints on the right: Gregorius, Bernulfus, Fransiskus Borgia, Hendrikus, Gertrudis Hefta, who are noted for their commitment in preaching the Gospel in the past, and another three at the bottom: Agustinus, Hieronimus, Thomas Aquino, who were ecclesiastical poets and linguists in charge to translate the Bible from Hebrew to Greek and Latin. It is sealed with a quote from a song: Umbram Fugat Caritas, Quod In Coena Christus Gessit Faciendum. Hoc Expressit In Sui Memoriam (Lauda Sion); Noctam Lux Eliminat, which means “driving away from a shadow of charity, in the last supper, Christ is to be waged. This is done in remembrance of Him (Praise Sion); eliminating the darkness with light”. The two statues on the two particular pillars framing the view of the main altar, are of Ignasius de Loyola (left) and Fransiskus Xaverius (right). Both of them were founders of the order of the Union in Jesus, the clan of the church. Moreover, the Neo-Gothic pipe organ at the southern part of the transept, was built in Verschueren, Belgium and used in a village near Maastricht, before it was moved and assembled in Jakarta in 1988.

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Figure 4.11 Clockwise: Ignasius de Loyola and Fransiskus Xaverius The Jakarta Cathedral had also some of its artifacts manufactured in Indonesia. The table in front of the altar was created in Jepara, in addition to the podiums. The podium used by the priest was installed with images of Hell on the lower side, Jesus in the middle, and images of Heaven on the top, while the podium for the principal conductor is just plain. The throne of the bishop, another important possession of the church, has three seats and a diocesan logo of the bishop in charge. Currently it is of the Archbishop Mgr Julius Kardinal Darma-atmadja, SJ, that is “In Nomine Jesu” or “In the name of Jesus”. It was drawn by the Priest Mangunwijaya.3

Figure 4.12 Clockwise: The podium, throne, and pipe organ The Jakarta Cathedral, like most Catholic churches, is renowned for its artistic distinction. The artifacts mentioned above, however, are untouchable views. Indeed, some of them are located at the farthest of tactile perception, but it might be considered as odd and ill-suited for ordinary people to have such limitless access to these prized possessions of the church. Confirming Merleau-Ponty’s stance in Phenomenologie de la Perception, the artifacts aim to be perceived at a proper distance to be perceived correctly, avoiding the blur when seen too near or deficiency when seen too far away. The artifacts are intended to be enjoyed in their entirety. The distance, while measurable, defines a distinct separation between the sacred and the profane, and makes people to feel humble and surrender with respect. The closer artifacts such as the Pieta, on the other hand, serve beyond the experiences described. It is a statue at the southern corner of the nave, portraying the sadness of Mother Mary with the body of Jesus after crucifixion in her arms. People inch toward Pieta to light candles and offer prayers, some on bended knees, while some stand at a side of the statue, touching the feet of the statue. The experience makes them feel God, here loosely personified

3 Katedral Jakarta. (n.d.) Katedral Jakarta. Retrieved May 16, 2013, from http://katedraljakarta.or.id

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in a bodily presence of a statue, a lot more approachable. The closure between God and His people as fabricated through Pieta makes people become more comfortable to communicate their thoughts to God. However, it is not intentional. It is a habit unconsciously bred and nourished by the Catholic society, and later cultivated with rumors, such as prayers vocalized by touching Pieta are more potent than ones which are not.

Figure 4.13 Pieta

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Scale refers to the size of an object in relationship to another object. The terms “large” and “awesome” are examples of attributes to assess scale in the Jakarta Cathedral using our body as physical reference. In the Jakarta Cathedral, enormity of the space is shown full frontal on its ceiling. The narthex lets us to experience the church in what is called “life size” and ideal in proportion due to its relatively low roof and narrow walls. But as we enter the nave, the sense of scale we hold onto firmly is snatched away from us, leaving us dazed and confused to the new dimension it introduces. It is a bit wider and a lot higher to the point that, while possible, it is puzzling to use our body based measurements. It enables us to feel as if soaring in a God like space, because it is no longer predictable, as it pushes us to surrender quietly and obediently. 4

Figure 4.14 The scale in the Jakarta Cathedral

Source: http://thegreatmc.deviantart.com/art/gothic-cathedral-interior-81422143 Symmetry is an integral part of design. It tells us that the building has a statement to make. It presents a stability and longevity, as seen in a throne of a king. The main entrance which faces west, is graced with two towers which look almost identical. Asymmetry, on the other hand, presents vitality and modernity. It is also adorned with a statue of Our Lady Mary, whom the church is dedicated to, and the phrase Beatam Me Dicentes Omnes Generationes or “all generations shall call me blessed” in English, all in one vertical axis. The massing of the building also follows a symmetrical plan.

Figure 4.15 The symmetry in the Jakarta Cathedral

4 Design in Art: Scale and Proportion Tutorial (n.d.). Sophia. Retrieved May 18, 2013, from http://www.sophia.org/design-in-art-scale-and-proportion-tutorial

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Symmetry, reflects to the our body: right and left, back and front, and the navel in the center. Marcus Du Sautoy wrote that our mind seems to be constantly drawn to anything that embodies some aspect of symmetry: art, architecture and music from the past to the present day play on the idea of things which mirror each other in interesting ways. In the Jakarta Cathedral it is easily found in its plan. The main entrance serves as a primary axis which divides it into two identical masses. Our body, advised to trace its given path, functions as an even more crucial axis to navigate around the space. Witold Rybczynski shared his experience on how it contributes to his exploration: “When we walk around a Baroque church, we experience many shifting views, but when we walk down the aisle, the line along the mirror images of the left and right sides meet, we know that we are in special relationship to our surrounding. And when we stand below the dome of the crossing, at the confluence of four symmetries, we know we have arrived.”5

Figure 4.16 The symmetry in the Jakarta Cathedral (and Michelangelo’s David)

Source: http://www.timelyart.com/davidpage.htm Gyorgy Darvas argued that symmetry also exists in social interactions. Peer relationships are based on symmetry, while power relationships are based on asymmetry. 6 In the Jakarta Cathedral, the transepts are exactly symmetrical, but the nave and the apse are not. The transepts are like two friends, facing each other of equal power, whereas the other two endings of the cruciform plan, the nave and the apse, are not equivalent in position. It points to a basic distinction between the two geometries, that one is under the power of the other. It is also testified by the ground level difference, where the apse is a few inches higher than the nave, representing the power of the clergy over the congregation.

5 Rybczynski, W. (n.d.). Why is architectural symmetry so satisfying? - Slate Magazine. Politics, Business, Technology, and the Arts - Slate Magazine. Retrieved May 19, 2013, from http://www.slate.com/articles/arts/architecture/ 2008/05/mirror_images.html 6 Darvas, G. (n.d.). Emotional Competency - Symmetry. Emotional Competency - Explore the Logic of Passion. Retrieved May 20, 2013, from http://www.emotionalcompetency.com/symmetry.htm

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Figure 4.17 The symmetry in the Jakarta Cathedral

Source: Pusat Dokumentasi Arsitektur as interpreted by the author

Harmony, on the contrary, cannot be measured accurately by the eye. We can only compare them and judge the relationship of one to another on proportional basis. As discussed in the Phenomenology of Perception, we understand something as the sub total of its multiple constituents. An object is perceived in its individuality, and at the same time, its unity with the environment. This is why in numerous occasions we are aware when a part of it is changed or removed. I think harmony has a lot to do with the consistency of rhythmical features of both the space and the properties in the Jakarta Cathedral, which are further discussed in the next paragraph.

Figure 4.18 The harmony in the Jakarta Cathedral Unity in the Jakarta Cathedral is symbolized by the altar, the core of its existence. It is verified by the direction of the congregation and the rule Ad Orientem.

Figure 4.19 The unity in the Jakarta Cathedral

Source: Pusat Dokumentasi Arsitektur as interpreted by the author

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Rhythm is composed of repetition: the regular occurrence of elements, including lines, shapes, sizes, and colors. There are two types of rhythm. First is progression: a transition produced by increasing or decreasing one or more qualities in a system, as in radiation (e.g. spiral) or gradation (e.g. sequence) and second is contrast: a deliberate placement of elements to create opposition by abrupt transformation, which can raise interest through comparison or tension.7 Both play an important role in maintaining the harmony in the Jakarta Cathedral.

Another aspect of religious design relates to numerology and the symbolic science of numbers. In the Jakarta Cathedral, the number three, in relation to The Holy Trinity, is used in architectural form. Three altars, three thrones, three seats, three sides to enter the church, and three connected spaces inside the church.

Figure 4.20 The rhythm in the Jakarta Cathedral

Clockwise: Three altars, three thrones, three seats, three entrances, and three spaces

Source: Pusat Dokumentasi Arsitektur as interpreted by the author

7 Design Principles: Balance, Rhythm Emphasis and Harmony . (n.d.). University of Oregon. Retrieved May 21, 2013, from http://pages.uoregon.edu/surviarc/three.html

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Figure 4.21 The site survey in the Jakarta Cathedral

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The Jakarta Cathedral has its doors open for most of the day and a lot of people actually spend their time to visit and pray. Some mentioned they can feel God inside the church. When asked how the feeling is manifested, some respondents later ascribed it to words like “peace”, “nice”, “awesome”. These are very universal qualities which can be applied to basically anything, anyone, anywhere, except not necessarily as being “divine”. It is a characteristic that this experience is specific, hence, exclusive to some people. The quality of divinity I am talking about is a quality which radiates formality and dignity in the process of worship. It occurs at a different degree in different people. Han Awal insists that the Jakarta Cathedral, in relation to its Neo Gothic nature, depends on its quality of divinity in the amount of light. The more light that penetrate the space, the less the solemness of the space is. The Crystal Cathedral in California, USA, is another example of light play in ecclesiastical architecture. The windows have shifted from ventilation to a shell and structure of the space, leaving not a single corner unexposed to the light. Clearly, there is a contrast in the interpretation of enlightenment between the two. It seems likely that the dimness in Jakarta Cathedral is inspired by Christians who were forced to hide and worship underground to escape persecutions by the Romans. But nostalgia aside, what is it in the space that determines its quality of divinity? Yet it is possible for us to measure and write down what forms the quality of divinity, it is not a simple task to accomplish, since the act of perception is, again, personal and unique. To some, the altar is the most captivating quality Jakarta Cathedral has to offer, but others may enjoy the distracting scent of melting wax in the process of worship. Solemness, in short term, can be achieved through architectural manipulations of light, color, shape, size, material, and devotional figures, art and music, but in the long term, it requires the continuous practice of faith in daily life, with the help of the Holy Ghost, according to most people. The Jakarta Cathedral, on weekends, is able to accommodate up to 750 people inside, and hundreds more by stationing projecting screens outside. The interior, despite its dimension, allows very limited movements. A vast portion of the nave, aisle, transept, and crossing is loaded with rattan benches, interspersed with cushion in similar shades to kneel. A lectern, a special podium for priest to read the Bible, is located among them. But the most pivotal factor in determining the circulation of the people is the pillars. There are 11 visible pillars in the nave and the aisle, five on the left, five on the right and one at the center near the porch. The latter column, marking the beginning of the main corridor, at the same time, blocks people from viewing the altar. The church utilizes this location to place a basin containing water of sanctification, as a symbol of ticket for people to enter and celebrate their faith. Presumably the structural system and the proportions of architectural forms are interlinked. Consequently, the corridors formed by the columns do not offer us a lot of options to move around. Straight aisles and sharp cornered paths, following its cruciform shape determine the circulation pattern. By limiting our gesticulation freedom, the space expresses importance as a place of worship and nothing else, thus makes us cautious and concentrate. The rectangular motive of movements let the congregation and the priest to move in an organized and graceful manner.

The monitors, broadcasting the mass from the inside to the outside, here serve as an extension of physical space. In Germany, there used to be a regular television broadcast of the mass. Handled in such modern and professional manner, it enabled its audience at home to feel just as concentrated and devoted without actually being present in the Cathedral. However, it is conclusively rejected because it removes the essence of being in the church itself: being in community with fellow Catholics and most importantly, in contact with God. Han Awal reasoned that the act of stationing screens outside Jakarta Cathedral does not deviate from the spirit of communion as it is an extension of the religious space and its experience outside the building. It has a reachable distance for the communion bread to travel from the tabernacle to

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the people. In fact, churches, especially those of Christian denominations, have a written standard procedure on how to attend mass via modern means of communication.

The Jakarta Cathedral poses another question: How do its architecture contributes in making people feel “comfortable” and “welcome”? This may have a lot to do with tactile perception. Even when it does not involve our tactile sensory system, it is capable to analyze beyond visual scope. Although its effects are often said to be dramatized, it is proven that color has an impact to our psychological being.

Its interior is dominated with brown overtones. Brown, while considered a little dull, symbolizes cordiality, simplicity, and trustworthy. The pillars and other concrete made foldings are painted in ivory, which represents quietness and pureness. The floor, on which the congregation is seated, is rather ambiguous. It is a mix of black, in association with rebellious manner, and white which projects innocence. The altar is decorated with a range of reds. Red is a very stimulating color, and unveils a lot of different feelings. It can denote power (e.g. red carpets for celebrities), emergency (e.g. ambulances and stop signs), and joy (e.g. a symbol of prosperity and good luck in China). Gold, the color of precious metal and most of the properties placed on the altar, suggests wealth and glory. 8

Despite their meanings, they do not play any role in our understanding of the space. The flowing shades are more about following the earlier examples set by the architect himself, Antonius Djikmans, and to certain context, visual manipulation. For example, the use of dark tones to make a room feel small, or the use of clashing tones to inject a modern ambience to a traditional space. During World War II, when Japan took over the city, the exterior of the Jakarta Cathedral was painted from white to a variety of green, to blend with its environment and hide itself from bomb attacks. Even today the practice of camouflage is still valid. The church is now wrapped in such way to look like real natural stone, obeying the ideology of Viollet Le Duc, who pioneered the Neo-Gothic movement.

The site survey at the Jakarta Cathedral proved that it draws the most amount of people around mass hours, and considerably less at other times. The experience of the church in both periods mentioned also differ in so many levels. To get a clear comparison, I am taking take two samples from the architecture research: Monday - Saturday 6 PM as the mass hours, and their previous twelve hours as the break time. In mass, lights in the church are turned on, in contrast to the gradually getting darker sky on the outside. “The outside anticipates the inside. The world was set, the forces definite, the way known.” It highlights the disconnection between the two worlds, as confessed by the survey contributors, the complex opposing forces which presents the ambiguity of finitude: time versus perpetuity, matter versus spirit, expanding curiosity versus centered faith, and two powers: one eternal, spiritual, and true, the other temporal, material, and limited. 9 The main entrance, as the key axis to navigate around the church, places us in the center of the religious experience. The center aisle, particularly in ecclesiastical sites, points to an identity transformed in a way to boost and add meaning to the rituals of the space. “It is not a concept of geometry, it is one of the musculature with all its kinesthetic ramifications, of orientation in response to the pull of gravity, and a sense of

8 Color Psychology (n.d.). Psychology - Complete Guide to Psychology for Students, Educators & Enthusiasts. Retrieved May 20, 2013, from http://psychology.about.com/od/sensationand perception/a/colorpsych.htm 9 Ashbrook, J. B. (n.d.). Brain, Mind and God. Religion Online. Retrieved May 22, 2013, from http://www.religion-online.org/showarticle.asp?title=1027

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inside.” The movements made from the door to the altar are connected to our basic and frontal orientation system which developed a matrix of psychological coordinates with feelings, for example: up indicates struggle and imagination while down is depressing but also realistic. Front is alignment towards mobility and democracy while back is private and has morally and spatially lower implications. Right is associated with power, dexterity, rationality and confidence while left is more for sinister purpose, ill-treated reasoning and weakness.10

Another three aspects we should take into account when orienting ourselves are the feeling of being bounded (by physical or mental boundaries), possessed (by the reflection of self in the object), and centered (as anyone being in a new place will testify). In the mass, people listen to sermons and sing, or chant, religious anthems in response to the liturgy. This kind of balance is also encountered in social interactions: reciprocity, empathy, apology, and so on. The shell shaped pendentive roof is a tool for sound reverberation, processing the prayers and hymns into layers of echos, injecting a thrilling feeling to the congregation.

The Jakarta Cathedral can be extremely crowded on weekends. Children chatter during the sermon. It has been one of the foremost complaints in the survey, followed by the discomfort of the moist and humid atmosphere because of the lack of air conditioners. The options available are perplexing. Although a significant amount of electronic devices have already been installed in the church, further actions to enhance comfort are obstructed with the idea of preserving the original characteristics of the church. On the contrary, break time between services offers freedom to people to explore, be it of devotional or touristic intentions. In the daytime, the sun penetrates the building through the windows, which are carefully crafted with a range of hue and image of the rose flower. The light and reflections travel concentrically and cast out colorful lights into the relatively minimally lit space. The exterior is muted in contrast to the bright interior. It is also much more tranquil and fresh, allowing people to concentrate with ease.

Conclusion The outer and inner envelopes of the Jakarta Cathedral possess different but just as important roles in forming our ideas on perception in a place of worship. The exterior expresses beauty and authority in contrast to its environment while the interior speaks to us on a whole new level of perception. As we enter, the experience allows us to detach ourselves from the world, and to perceive a state of being beyond our physical extent. The space, both its form and decorative ornaments, project our body and soul in the presence of God, the object of worship. The visual and spatial manipulation, as previously described in this chapter, greatly influences our views and movements inside the church. I think one of the best ways to encapsulate the impact of perception formed by both parties is by using the term “grace”. The exterior is a manifestation of common grace, which means the experience is general and can be understood by anyone. The interior, on the other hand, is not. It is of special grace, which shows its meanings can only be fully unveiled to ones who practice the faith, in this case, Catholicism. This is why some people said “nothing” interest them in spite of everything they see. Indeed, the space tries to tell us something, even in defiance of our theological doctrines, but it is narrow and shallow, because we treat what we perceive as information or knowledge, not a part of a belief. All in all, the Jakarta Cathedral is a place to worship God in the absence of His physical manifestation. In His anonymity that is futile to grasp with our minds, even in the form of fragments, our understanding is acceptable and will suffice because it is what is

10 Bloomer, K. C., & Moore, C. W. (1977). Beyond The Body Boundary. Body, Memory, and Architecture (pp. 40). London: Yale University Press.

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unveiled and invited us to perceive within the architectural form and our perception of architectural space.

References Bloomer, K. C., & Moore, C. W. (1977). Beyond The Body Boundary. Body, Memory, and Architecture. London: Yale University Press.

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Color Psychology (n.d.). Psychology - Complete Guide to Psychology for Students, Educators & Enthusiasts. Retrieved May 20, 2013, from http://psychology.about.com/od/sensationand perception/a/colorpsych.htm

Ashbrook, J. B. (n.d.). Brain, Mind and God. Religion Online. Retrieved May 22, 2013, from http://www.religion-online.org/showarticle.asp?title=1027

Andil dan..., Helen Pangestu, FT UI, 2013