Originality Statement
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PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hosseinabadi First name: Sanaz Other name/s: Abbreviation for degree as given in the University calendar: PhD School: School of Architecture Faculty: Built Environment Title: Residual Meaning in Architectural Geometry: Tracing Spiritual and Religious Origins in Contemporary European Architectural Geometry Abstract 350 words maximum: (PLEASE TYPE) Architects design for more than the instrumental use of a buildings. Geometry is fundamental in architectural design and geometries carry embodied meanings as demonstrated through the long history of discursive uses of geometry in design. The meanings embedded in some geometric shapes are spiritual but this dimension of architectural form is largely neglected in architectural theory. This thesis argues that firstly, these spiritual meanings, although seldom recognised, are important to architectural theory because they add a meaningful dimension to practice and production in the field; they generate inspiration, awareness, and creativity in design. Secondly it will also show that today’s architects subconsciously use inherited geometric patterns without understanding their spiritual origins. The hypothesis was tested in two ways: 1) A scholarly analysis was made of a number of case studies of buildings drawn from different eras and regions. The sampled buildings were selected on the basis of the significance of their geometrical composition, representational symbolism of embedded meaning, and historical importance. The analysis clearly traces the transformation, adaptation or representation of a particular geometrical form, or the meaning attached to it, from its historical precedents to today. 2) A scholarly analysis was also made of a selection of written theoretical works that describe the design process of selected architects. The sample of architects was selected on the basis of their differing influence in radical and remarkable productions and how these architects may change the future of design work. The focus was on the awareness of each architect’s representation by studying their personal and professional backgrounds and their writings about their work. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………... Signature Witness Signature …….… Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS Residual Meaning in Architectural Geometry: Tracing Spiritual and Religious Origins in Contemporary European Architectural Geometry Sanaz Hosseinabadi A THESIS SUBMITTED TO THE FACULTY OF THE BUILT ENVIRONMENT IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY University of New South Wales Sydney, Australia August 2015 ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed .............. Date .............. COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ........................... Date ........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ........................... Date ........................... ABSTRACT Architects design for more than the instrumental use of a buildings. Geometry is fundamental in architectural design and geometries carry embodied meanings as demonstrated through the long history of discursive uses of geometry in design. The meanings embedded in some geometric shapes are spiritual but this dimension of architectural form is largely neglected in architectural theory. This thesis argues that firstly, these spiritual meanings, although seldom recognised, are important to architectural theory because they add a meaningful dimension to practice and production in the field; they generate inspiration, awareness, and creativity in design. Secondly it will also show that today’s architects subconsciously use inherited geometric patterns without understanding their spiritual origins. The hypothesis was tested in two ways: 1) A scholarly analysis was made of a number of case studies of buildings drawn from different eras and regions. The sampled buildings were selected on the basis of the significance of their geometrical composition, representational symbolism of embedded meaning, and historical importance. The analysis clearly traces the transformation, adaptation or representation of a particular geometrical form, or the meaning attached to it, from its historical precedents to today. 2) A scholarly analysis was also made of a selection of written theoretical works that describe the design process of selected architects. The sample of architects was selected on the basis of their differing influence in radical and remarkable productions and how these architects may change the future of design work. The focus was on the awareness of each architect’s representation by studying their personal and professional backgrounds and their writings about their work. The conclusion from these analyses was that the path in making meaningful architecture has been achieved through the application of an important architectural tool – geometry. This vital role of geometric forms and their composition has been significant in the past and is still relevant today, but might now have a diversified value or none at all. Architects from the early 20th century have striven to use geometric forms in a different way, in a new way, entirely different to past beliefs. On the other hand a beholder who has a knowledge and awareness of those past meanings, will still respond to such symbolism when experiencing an architectural space. Further research on how this ii awareness of meaning can affect beholders psychologically in their experience of space will yield a deeper understanding of the ideas covered in this thesis. Placing the selected case studies in relation to these social and psychological evaluations may allow the terms of ‘aesthetics’ and ‘beauty’ to be defined from a more objective position. iii ACKNOWLEDGMENTS This thesis has been a challenging yet rewarding experience for a number of reasons. The journey would not have been possible without the generous assistance of many people who have helped mould this thesis and through their work helped me grow. First and foremost, my most sincere gratitude to my direct supervisor Dr Tom Loveday and for the last 12 months Professor Jon Lang, Their thoughtful criticism, encouragement, wisdom, advice and information throughout my years at the University of New South Wales have guided me in the completion of this thesis. In particular Professor Lang valuable guidance and advice always encouraged me to walk more strongly along this path and helped me brave the uneasy