A Place to Worship: from Paths to Node

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ARCHITECTURE DEPARTMENT CHINESE UNIVERSITY OF HONG KONG

MASTER OF ARCHITECTURE PROGRAMME 2007-2008 DESIGN REPORT

A PLACE TO WORSHIP: FROM PATHS TO NODE

LAM Wing Van Millie May 2008

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student Name Lam Wing Yan, Millie Instructor Eymen Homsi Email millielam_yan@ya hoo.com.hk Context

Background Situation Review Hong Kong Church Studies Interivew with Christian

Statement -Objective -Fellowship

Precedent Studies -Early Christian Architecture -Other Religions -Modern Church (Monastery of La Tourette) -The Hong Kong Baptist Theological Seminary -The Danteum Project -70 churches visited in Europe

Articulation Matrix of Path • Experience Light Fellowship Cell A Matter of Time Worship in Nature Symbolic Element Conclusion

Site Analysis -Site Selection -Matrix of Paths -Paths Analysis -Lighting Analysis

Design Concept

Design Process -Organization of the paths -Organization of Curve

Design Plans Isometric of the Main Worship Area Sections Perspectives

Bibliography Situation Review

Global

Every great civilization in history- the Egyptian, Assyrian, Clas- sical Greek, Roman, Medieval, Mayan, Renaissance, Colonial American, and many others, developed their own building cul- ture. The dominant building in great historical building cultures has been the church. Christianity is the major religious expression in 21th century, but what have our churches contribute to today's architecture? Can the churches meet the spiritual and religious needs of people within the economic limitations?

A cathedral was once the centerpiece of the western European town or city; the church, the focal point of the village. Mosques, though usually located at the periphery, were often the largest buildings in a city. In modem city, industrialized city populated by skyscrapers or overtaken by urban sprawl the task facing the architect of the religious building has less to do with creating a new centre or landmark and is more about responding to context. This is complicated by the fact that the need for harmony must be reconciled with the desire for a building to resonate with particular purpose, and enclose a sense of physical and spiritual retreat from the urban fray.

The architectural history of churches is deep and diverse, and includes renaissance and baroque (Alberti, Borromini, Bernini); modern (Le Corbusier, Mies,Wright) and contemporary exam- ples (Lynn, Ando,Moneo) of radical architectural experimenta- tion with new structural, material and formal possibilities.

Berlin Cathedral, Berlin, Germany. Photo taken in 4 Nov 2004. F “…

St Peter s Cathedral, Rome, Italy. Photo taken in 24 Jun 2005. Hong Kong

Churches are located in the offices, community centers... There is no sense of worship and belonging to the places. Thus, people tend not to stay in their churches. There is not enough space for the religious activities, for example, bible study, meditation, fellowship... The existing situation is that these activities are held in some temporary spaces such as schools , homes and community centers. Believers cannot feel the spiritual quality inside the worship space and no sense of belonging to the space.

People called the church in Hong Kong “ Second Floor Church". When you walk on the street, you can hardly recongise the church. Church is like the middle layer of a sandwich. Indeed, church is God's house, it should not be under anything. Chuch situated in cinema and back alley in Hung horn and Tai Po.

Jesus at the Temple “On reaching Jerusalem, Jesus entered the temple area and 1 began driving out those who were buying and selling there. He overturned the tables of money changers and the benches of those selling doves, and would not allow anyone to carry merchan- dise through the temple courts. And as he taught them, he said," Is it not written: '"My house will be called a house of prayer for all nations'? But you have made it' a den of robbers.'" (Mark 11:15-17) Interview with Christian

Isaiah 43:9 - All the nations gather together and the peoples assemble. Which of them foretold this and proclaimed to us the former things? Let them bring in their witnesses to prove they were right, so others may hear and say "It is true."

Priest Wong from Chinese Christian Church in London: Human should attach to God and detach from human. God is a bonding to hold human 's relationsip. One can only f love the others through God. Jackie Lee (A christian and Arcitectural Assistant working in church renovation): A worship space should lie on a plane, the movement should be continuous, all the can communicate with T each other.

Jenny Ng (Student in Theological Study): The role of a church is to lift people's heart to worship and propagate gospel.

Human should detach to human but attach to God. In order to achieve this, fellowship would act as a tool for human to communicate with the others.

interpretation of Priest Wong 's relationship with Objective

In order to adapt the Christian 's changing worship pattern both in space requirement and organisation, this thesis at- m tempts to explore the new movement pattern towards the urban worship space and the space 's requirement.

Second,the thesis aims to encourage movement to the Spir- m itual space and keep the movement inside the space. That is to propagate gospel to non- christian and make the believers to stay.

It is the body of worshippers which gives life to the building, the cold forms must also have the power to speak to the worshippers. The message which the church building carries must therefore be comprehensible to the worshipper if it is to be of any value; and not only to the worshipper but also, if possible, to the ordinary passer-by. The building and its visual message will become the heritage of future generations and their discourse of that moment will pass into the common language of all worshippers.

1 permanable worship space.

Role of Church

fservices' A (Worshi\ •/ p

V h-i^ii ST FellowshiD Fellowship

Importance of fellowship Isaiah 43:9 - All the nations gather together and the peoples assemble. Which of them foretold this and proclaimed to us the former things? Let them bring in their witnesses to prove they were right, so others may hear and say "It is true." m

God is invisible but I believe that he works and deeply engage to individuals all the time in the manner of people's gathering. Gospel is about living within society with others, it should be integrated into individual life. The church is transitional space in between which takes role of platform that binds the gap between God and Mankind. Church drives people to find their own purpose of life through fellowship, association, community, communion, joint participation, sharing and intimacy. Church is the field where creates a bond between believers, when people are recognized, share their common possession, and united. Fellowship is never passive, it is always linked to action, not just being together, but also doing together. With fellowship comes a close and intimate relationship embracing ideas, communication, and frankness, as in a true, blessed interdependent friendship among multiple group members.

Sharing Fellowship implies the spirit of generous sharing or the act of giving as contrasted with selfish getting. The spirit of sharing Fellowship cells surround the main worship space. and giving becomes tangible. In most contexts, generosity is not an abstract ideal, but a demonstrable action resulting in a tangible and realistic expression of giving.

Relationship Fellowship :the two parties are joined together creates an aligned relationship. The term can also relate to a spiritual relationship. In this sense, the meaning something that is held and shared jointly with others for God, speaking to man's "relationship with God". The early Christian community saw this as a relationship with the Holy Spirit. In this context, fellowship highlights a higher purpose or mission that benefits the greater good of the members as a whole.To be imbued with the Spirit of God in Us. Believers share their joy and pains together, and are united because of their common experiences, interests and goals. Fellowship creates a mutual bond which overrides each individual's pride, vanity, and individualism, fulfilling the human yearning with fraternity, belonging, and companionship. This meaning of fellowship accounts for the ease by which sharing and generosity flow. When combined with the spiritual implications, fellowship provides a joint participation in God's graces and denotes that common possession of spiritual values. Thus early Christians had a fellowship God, sharing the common experience of joys, fears, tears, and divine glory. In this manner, those who shared believed their true wealth lay not in what they had, but in what they gave to others.

Community Community and family become closely intertwined, because aiming at a common unity strives to overcome brokenness, di- visiveness, and, ultimately gaining wholeness with each of the members, with their environment, and with their God. By giving mutual support, friendship and family merge. Both fellowship and community imply an inner and outer unity. No where in the framework of community is there implied a hierarchy of com- mand and control. While there is leadership, the leader's task is to focus energy, and align interests, not impose control.

New direction of the Christianity space Congregators and visitors, among classified social ranks, rich and poor, different races harmonize in the church. The new church is the platform which link them together, not vertically but horizontally. The worship space is very concentrative towards two points, at the same time very linear way to arrange spaces for partici- pate, experience of fellowship. The new worship space, therefore allows people to experience sequential moments through / flowing from one place to another. Flow into sacred space, flow out of the worship space through experience of gathering, or A meet in person, or worship by oneself. Each space provokes 1 to achieve the meaning of fellowship. Distributed in various scales, guide the velocity of people's flow. Form follows the flow.

Wounded people, who have broken family background, flow People flow in and out form the worship space. into the church for renewal through experiencing fellowship. Consequently, they flow out to the living Society. The new church community keeps flowing. The new church provides space for caring, sharing and relieving. Early Christian Architecture Introduction , own For centuries, churches are centrally located which gives visible structure and meaning to the townscape, and only the castle sometimes formes another focus. I O I kss^ Church m Church concept: From the very outset a few profoundly symbolic spatial \ / relationships were taken as the point of department for the •m building is, the concepts of "centre" and "path". Christian existential space symbolizes a promise and a process of m redemption, which are concretized as a centre and a path. S Early Christian Architecture, and the plan of most early churches tends towards a combination of synthesis of lon- gitudinality and centralization; the former being dominant in the West and the latter in the East.

Landscape and Settlement

Left: Longitudinal church plan in the West. When Constantine moved the capital of Roman Empire to Right: Centralizing church plan in the East. Constantinople in 330, with the dedication of a new city the old order is absorbed by new one based on Christian faith. The new capital was set where Asia and Europe meet, the Black Sea and Mediterranean are also connected to from north- south axis. At this intersection the city seems to hover between heaven and earth. Constantinople is a city of dematerialized contours and surfaces.

Secondary functions: kitchen, During the fourth century the cenobitical system devel- guest house... oped in which the congregation lives together in a monastery consisting of walls, refectory, church, and secondary functions such as kitchen and guest house. Usually the different elements formed an enclosure around centrally placed church. Within the enclosure, silence, humility and ascetism reigned.

In sixth century under Emperor Justinian, the city's skyline dominated by the numerable domes of churches.

S.Giovanni in Laterano is a vast columnar basilica with double aisles ran from east to west and terminated in a tall apse which held seats for the bishop and clergy. S.Giovanni in Laterano,Rome. 313-320. Ground Plan m m B Longitudinal Church r • . - !5S?! The transept is a medieval addition; orginally the inner aisles were continuous, while the outer stopped by rela- m tively low sacristies.

From the beginning, churches consisted of two major \ parts: the congregational nave and chancel. The new idea was to bring these two elements together within the same interior space, thus expresses a new conception of the function of giving and receiving.

There is another group where the aisles are carried around the apse to form an ambulatory, expressive of a wish for centralization. In fact, these basilicas were funerary halls connected witha martyr's grave. However, this style was soon abandoned.

St. Paul's (after 324) had a big basilica and a tall transept offered additional space for the functions of funerary hall. The building proceded by an atrium with a central foun- 1. Fountain 2. Atrium 3. Basilica 4. Aisle 5. Apse 6. Transept tain for purification. The plan was basically a longitudinal Old St. Peter's, Rome. Begun c. 333 Ground Plan and reconstruction (after Conant.) path. \ \ \

Combination of Longitudinal and centralized Church

Church of the Holy Sepulchre, Jerusalem, was erected by Constantine. In the church, a circle was added to a basilica, which was a true combination of longitudinal and centralized spaces. It contains a large apse around the Tomb of Christ.

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in the Roman Church, a table at which the celebration of the Eucharist takes place. I is placed in a prominent place in the church, usually at the east end, in the choir or sanctu Church of the Holy Sepulchre. Jerusalem. 335. Ground plan. ary, facing the main entrance to the church. m Centralized Church m

In the Eastern Empire, from the time of Emperor Justin- ian, centralization became the didtinguishing property of

Byzantine ecclesiastical. The first example is the domed, • octagonal H. Sergios and Bakchos (begun before 527). •4 [>° J ‘ r—» _ r r^ r . J

H.Sergios and Bakchos, Constantineople. Begun c.525. Ground plan and In the early Byzantine, church architecture fell back to isometric drawing cross- domed plan, where a dome surmounts the crossing of nave and transept. Like the church of the Holy Apost- less in Constantinople (536-50), five domed units were arranged to form a Greek cross.

In the late Byzantine, church developed into standard cross- in- square church (quincunx), where the corners are surmounted by smaller domes, and the chancel is ac- Cross-domed plan in later Byzantine. companied by smaller.

Christ revealed himself under Articulation the central heavenly dome. n The exterior of basilicas and Byzantine domed structures is usually a neutral envelope of continuous masonry walls, Nave where congregation assembled achieving in this way a deliberate contrast to the rich, "heavenly" interior. Cross-in- square plan in later Byzantine. The articulation of the interior, in most cases the columns must be simply understood as an emblematic motif and a means to emphasize the longitudinal movement. The horizontal lines of the entablature do "visualize" the movement in depth, but at the same time the nave is divided into two distint zones: a tall upper wall resting on a row of columns. This solution echoes the classical pay of forces and moreover contradicts the idea of the wall as a continuous surface. The wall hence is "dematerialized". Space in the interior of Early Christian church was intended to make the visitor forget the properties of everyday things: plastic form, weight, size, scale, material texture, and shape- de- fining shadows.

The dome represents heaven while lower parts form an earthly zone. Divine light emanated from the heavenly sprend to the centralized space below. Christ who is the light of the world. Christian Architecture timeline ___ I ^ n.

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Christian Church Modern Church Monastery of La Tourette

Le Corbusier and light Lighting was fundamental to Le Corbusier's architectural thinking. In Vers une Architecture (Towards a New Architec- ture), he wrote:"Architecture is the skilful, accurate and mag- nificent play ofvolumes seen in light."|Throughout his career, he developed and refined his daylighting strategies. "I used light abundantly, as you may have suspected; light for me is the fundamental basis of architecture. I compose with light."

In the church of La Tourette, Le Corbusier used different light languages and vocabularies to define spaces, to create dis- tinct luminous environments and to evoke spiritual emotions. In terms of light language, asymmetry of light was used in the eastern end of the church to create a dynamic luminous pre- cinct, while symmetry of light was used in the opposite end to produce a rather calm and contemplative atmosphere. The 7 1 r 1 • key idea lies in the careful control of illuminance and lumi- J1 nance balance in the visual field.

In this analysis, the lighting in the monastery is divided into: ^^ r f 1) Individual light • m. sA 2) Collective light 3) Transitional light as C Ji^Ll^' - 4) Sacred light •

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-CTj. 2/FI m 1) Individual light -Purifiy one's heart -Control one's mood .3 -Restrict one's view but not light -Control internally m ©

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Distance from entrance to window

Concrete flower to restrict one's view but not light, it By carefully design, the lighting inside monk's cell helps to create a highly concentrative area. gradually changes upon his activites. 2) Collective light 3) Transitional light s -Corridor • Communal activities -Inspired by music •Abundant in quantity -Rhythm • In order • Increase the transparency • For interaction wm g • n I a h ©

Distance from refectory to the Chapel 4) Sacred light -Most fantasic -Light and shadow proportion -preapare believers for services -more than two kind of light sources -dynamic luminious balance -colour

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Hong Kong Case Study B The Hong Kong Baptist Theological Seminary

Chapel

The Seminary chapel can accommodate up to 400 people.

Administration and Education Block The Administration and Education Block is four stories high. The administration offices are located on the ground floor The new Mult-purpose Hall can accommodate 140 people. Adjacent to the Hall are two mufti-purpose conference rooms which can seat up to 50 people. ^ Each of the medium size classrooms can accommodate 30 people, and the small classrooms 15 people. The Lecture Theater situ- f^^ n e second floor can accommodate 120 people.There is a computer training room on the second floor with 12 sets Library Floor space of 750 square meters, the library provides seats and reading tables for 50 readers.

• ents Activity Block The Canteen, with a seating capacity of 180 people and two multi-function rooms are on the ground floor Student Residence TheSingle Student Quarters has 50 units, with each unit accommodating 2 people. The Married Student Quarters is divided into j^nrts for couples and families. There are 25 en-sulte units for couples and 20 units of two bedroom suites for families The Students, Quarters can accommodate 230 people in total. Other Religions m • .

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1. Egyptian: The confining corridor and barrier reflect the power of god rul(2rs ' will. 2. Grecian: The restricting barrier disappears and the congregation is free to enter the holy place, 3. Medieval: The congregation is barred from the entering only a small are a directly in front of the altar. 4. Reformation: All space becomes available to the congregation. The Danteum Project Introduction SSS The manifest of the Danteum was to serve as a museum and library, housing all the available editions of Dante's works, the major spaces of this large building were designed to represent the canticles of the Divine Comedy, intended as a symbol of what Dante represented in politics- Italian unification and imperial pretensions.

The architect Terragni chose the relationship of medieval to ancient as a primary inspiration idea and incorated it into the Danteum site and program.

The progression from dense to framed to open- Inferno, Pur- gatory, Paradise- following a system of ascent to the most holy ——— and sacred spaces. Danteum site plan, Rome.

1 Open court + 3 temple like rooms …TO-: “^ - The three spaces dedicated to the Comedy are placed in ascending order, it is a part of the Divine Comedy. m. • • » • mti i • •

Danteum 1/F plan The Danteum Project

Space Sequences

1. Free standing wall It is the first element to be encounter before the building. This wall is parallel to the front and a long frieze of relief sculptures, which hides the building, creates an internal street of slight incline that leasds to the entry and leaves the view to the Colosseum visually free for visitor.

2. Overlap zone of the generating squares The entrance to the building, situated parallel to and behind the facade, and between two high walls of marble. This securely establishes the character of pilgrimage that visitors must make, kining processionally in single file, and guided The free standing wall. Danteum only by the intense sunlight that will be reflected on the square space of court.

3. Open court The court is "intentionally wasted" from the point of view of building economy, and it is a reference to the life of Dante up to thirty-fifth year, a life of transgression into error and siin, and therefore 'lost' in the moral and philosophical balance. i

4. Forest of 100 marble columns Each column supports a capital which is part of the floor of the [ Paradise. Between the capitals, there are strips of glass. I'

5. Biblioteca u \ NT I'l M From the court of columns and rear of the building, visitors Entrance court, Danteum. would able to enter the study center. They may pass through a corridor with five freestanding statues and up a few steps to the first of the only literal doorways in the building. The figures represent the damand of writhing in agony and are prelude to the 'gate of Hell'.

Forest of 100 marDie columns, Danteum. 6. Inferno Inferno is a simple rectangle divided according to golden sec- tion, this results in a series of squares, which are disposed in a descending spiral, and which are theoretically infinite in number. The sensation of the impending, of the void formed under the crust of the earth and through a fearsome seismic disorder can be plastically created by the overall covering of the room. m 7. Purgatory ©Q The transition from the Inferno to Purgatory is made by slip- Ring out of the concer of the first space and climbing a long, stepped ramp. In abstracted Dante's realms, "the form of a truncated conical mountaiin... an island in a sea of water," with contrast “ between the void of the infernal chasm and the Inferno, J solid of the mystical mountain of Purgatory. Terragni provides a spiral miniature mountain in the center of the room. And by making use of the abundant light from the wide rays of sun that brust through the ample openings in the ceiling, we will succeed in creating an ambience in which the visitor feels a salutary sensation of comfort, calling attention to the sky again, but framed by geometry. ’

8. Paradise To ascend to Paradise, visitor must exit Purgatory from a stair- way which is narrower than the ramp of previous transition, perhaps symbolizing the soul's difficult ascent to Paradise. This space underwent the greatest decomposition, since ma- teriality is least important here. Thirty-three columns of glass support a transparent frame open to the sky, meanwhile, these Purgatory, Danteum. grids frame the view of heavens.

9. Empire This is a long corridor- room displaces space from both the In- ferno and the Purgatory. The interdependence of the Paradise and the Empire symbolizes the interdependence of the church and the empire, each of which Dante believed derived its pow- ers directly from God.

10. Stair • The visitor finally get back to street by a long cascade stair. On descending the visitor confronts once again the marble block which heads the sequence of reliefs. m The Danteum Breakdown

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‘ ja I 5W "40:0d' 45W 50:00 05:00 60:00 Worship in Nature

Vegetation Water Nature as Structure

Antoni Gaudi's fervent faith and devotion greatly influenced his work. His projects became a religios exaltation and an expression of his strong nationlist feelings. Gaudi's beliefs are evident in buildings like the crypt of Colonia Guell and the Sagrada Familia.

Symbolic Elements Articulation

Path: longitudinal + centralized

People can come from all directions to the node of worship. The new type of worship space should be a combination of the longitudinal and centralized one.

Buffer Zone

From the outside world to the scared worship space, there should be a buffer zone to prepare people 's mind.

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Fellowship Cell

Every five to twenty people will group into a fellowship cell to worship their God together. These cells gather around the main worship area.

Static sacred space created by the contrast of the complicated path. f-. I Matrix of Paths 0 1 ifss^ a Matrix of the node for worship VmSSL

Path Cell Light Nature Time Symbolic element J

Path, Cell, Light, nature and Time are continuous elements, they are interdependent, so they can be mutliplied. However, Symbolic ewlement is more independent, thus it is in an "add into “ relationship.

Traditionally, there was only one path to the worship space and the spacia hierarchy was strong. Now, people go to church not only for services, fellowship plays an important role as well. It suggests believers to be more interactive among themselves and in progagat- ing the gospel. Many small spaces associated with the main worship space act as a buffer zone to communicate between outside and inside.

-/ I I ,X A T- Site Selection

Kak.^.-..... Kennedy Town Sai Wan Central

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Kowloon Hospital

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View of Brewin Path Temporary Park Site

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View from Graden Road Next to tram line Christian worshiping on Sunday Site Selection

p Oasis in Ihe Gly not in urban context Belchei Bay Paik

Sai Cheimi Street Noilh Parking 8424 No, container poil c30m No, 2 maikets nearby 0 Kennedy Town Kennedy Town Temporary Playground Nojiexl lo abandoned building 11 Caddogan Street Temporary Garden Nojiext lo abandoned building 2 Caddogan Streel Temporary Parking Nojiexl lo abandoned building 3 Ka Wai Man Ro^ Garden No, only green nearby 14 Sai Ning Slreel Parking 15 Sai Ning Street Site Tong Kowloon Hospital 66m

Brewin Path Site

Oasis in the City Concealed Hidden Easy to access from all direction Worship in nature Two sides charaterisitics: inward concentration; outward relaxation Matrix of Paths

Sliver, start from St. Paul's Co-educational College VMiite, start from tram station Purple, start trom ParK Rise Gold, start from Belgravia Greenish blue, start from StJohn Tower Pink, start from Robinson Road start from Garden Road start from Ladies' Recreation Club Orange, start from Brewin Path Green, start from Qovelly path Grass green, start from Po Garden Pale green, start from upper tram line Brown, start from Grenville Hou Shocking pink, start from Magazine Gap Road Black, start from Bowen Road Yellow, start from Macdonnell Road

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15 50m People density from West to East People densfty from North to South

People density from West to East People density from North to South Experience Lighting

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Mass under sunGghl on sile Movement Concept

The God's House should not be under anything, it is a place to glorify our God. Therefore, two planes are defined to house the place of worship - Sky and Ground.

We are bom from nature, we need to learn from nature. Human searching their God in the city is just like animals searching oasis in the desert. Thus, the ideal movement pattern towards a place of worship is spiral.

Combining the two planes concept, it results in a funnel like 3D movement pattern.

Animal moving pattern

Ideal people's movement pattern towards the worship space.

Funnel like 3D movement pattern.

lurch in the sky collage. Design Concept

12 paths to a node

2. The elevation is seen from the split.

3. Church located in Mid-levels to facilitate all people.

4. To restore the topogarphy of the mountain, a two directions slop is applied to the landscape. The thesis is now to study and analysis the method to organize paths to one node, a system to organize the paths will be created. Instead of thinking how all the paths come together, it is started from one things to divide into 12 paths.(The path unfolded schedule). Through the interface of the paths , spaces can then be seek and found. When two or more paths meet, a certain programme will be generated. This is a spiritual space, so it should be divided from the earth. To achieve the goal, the method of dematerialization will be used. One material one surface , but the surface will fold and act as roof, ground and wall at the same time.

Paths unfolded schedule

Paths unfdded schedule with Programme Paths Organization Desig n Concep t Crcale Sliollcr Crcale parapet To lur n For vorticul rnovumerU Enlargement Curve parameters Twist Rotation Slope

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Monestary 2/F Floor Plan

Monestary 1/F Roor Ran

Ground Floor Plan

Nursery Floor Plan

Basement Carpark Plan fl Isometric of the Main Worship Area

\ North Elevation and Sections

iJJJJiiiJJJi' …JJJJ] U ^ • ' i I I M I M • I • ! ' • I ^ i ! i • i i i . I i : . ! r ! I , • ‘ ‘ . 80 Sections cutting ttrough the site from East to V\fest. Sections yi3iS0ci Perspectives

Main Worship Area

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Old Peak Road Entrance Rapid Prototype Model of the Altar Rapid Prototype Model of the Main Worship Area

Q :250 Design Model :500 Site Model

500 Site model with design 19 April 2008 Final Presentation Bibliography

Theory 1. The dynamics of architectural form : based on the 1975 Mary Duke Biddle lectures at the Cooper Union, Rudolf Arnheim, Berke- ley :University of California Press, c1977. 2. Spaces : dimensions of the human landscape .Barrie B. Greenbie, New Haven, Conn.: Yale University Press, c1981. 3. The image of the city, Lynch, Kevin, Cambridge [Mass.] : M.l.T. Press, 1964. 4. Eberhard Zeidler: in search of human space , Christian W. Thomsen, [Berlin] : Ernst & South, c1992. 5. The power of the center: a study of composition in the visual arts , Rudolf Arnheim, Berkeley : University of California Press, C1982. 6. Flying Dutchmen : motion in architecture , Kari Jormakka, Basel Boston : Birkhauser, c2002. 7. Learning from Las Vegas : the forgotten symbolism of architectural form, Robert Venturi, Denise Scott Brown, Steven Izenour, Cambridge, Mass.: MIT Press, c1977. 8. Architecture, time and eternity : studies in the stellar and temporal symbolism of traditional buildings , Adrian Snodgrass, New Delhi :Aditya Prakashan, 1990. 9. Programs and manifestoes on 20th-century architecture, Conrads, Ulrich., Cambridge, Mass. : MIT Press, 1971. 10. Theories and manifestoes of contemporary architecture, Charles Jencks and Karl Kropf, Chichester, West Sussex : Academy Editions. 1997.

Religion 1. Temples, churches and mosques : a guide to the appreciation of religious architecture, J.G. Da vies, Oxford : Blackwell, 1982. 2. Exploring churches , Paul & Tessa Clowney, Herts,Eng.: Lion Publishing, 1982. 3. Churches & temples, Paul Thiry, Richard M. Bennett, and Henry L. Kamphoefner. Illus. in historical pref. and Protestant church sections by Duncan R. Stuart., New York : Reinhold Pub. Corp., [1954, c1953] 4. Spiritual path, sacred place : myth, ritual, and meaning in architecture, Thomas Barrie, Boston : Shambhala, 1996. 5. Church building, London : Burns & Oates, [1966] 6. Mystical themes in Le Corbusier's architecture in the Chapel Notre-Dame-du-Haut at Ronchamp : the Ronchamp riddle ’ Robert Coombs, Lewistown, N.Y.: Edwin Mellen Press, c2000. 7. Places of worship, James S. Russell, London : Phaidon, 1999. 8. New sacred architecture, Phyllis Richardson, London : Laurence King, 2004. 9. Alvar Aalto, London : Academy Editions New York : St. Martins, c1978. 10. Reima Pietiia : architecture, context and modernism , Malcolm Quantriil, Helsinki: Otava Pub. Co., c1990. 1. Armando Salas Portugal photographs of the architecture of Luis Barragan, Luis Barrag^n, New York : Rizzoli, 1992. 2. Eladio Dieste : 1943-1996, Eladio Dieste, Sevilla ; Consejeria de Obras Publicas y Transportes Montevideo : Direccion Gen- eral de Arquitectura y Vivienda, 1998. 3. Le Corbusier: le Couvent Sainte Marie de La Tourette, Potie Philippe., Paris : Fondation Le Corbusier Basel Bos- Dn : Birkhauser, c2001. ‘ 4. Spiritual direction and the care of souls : a guide to Christian approaches and practices, Gary W. Moon and David G. Benner, Downers Grove, ill.: InterVarsity Press, c2004. 5. Monasteries : a hundred jewels of European architecture, Marianne Bern hard, Munich : IP. Verlagsgese I Ischaft, c1998. 6. The mosque in early Ottoman architecture, Aptullah Kuran, Chicago : University of Chicago Press, c1968. 7. The house of God : church architecture, style, and history , Edward Norman, New York, N.Y.: Thames and Hudson, 1990.

Art 1. Daidalos, Volume no.43-46,1992, Berlin : Bertelsmann 2. Art and visual perception; a psychology of the creative eye, Rudolf Arnheim, Berkeley : University of California Press, 1954. 3. Force fields : phases of the kinetic, London : Hayward Gallery, 2000.

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