On the general characteristics of Islamic Architecture
If there is a form of architecture that can be called Islamic, we need to be able to specify at least some of its essential or typical features, characteristics or elements, observes E. J. Grube in a well know essay (1).
Certainly, to typify is to abstract from the multiplicity of aspects of a given object or phenomenon and to present, within the consideration of a series or group of related phenomena, a “condensation” of reality that may never be given, or be observed “as such”. Therefore, a listing of qualitative aspects should not be understood as the creation of a “fictitious” meta-object that takes the place of the real object of research, but simply as an orientation for grouping a number of different objects under a common concept. The common or general denomination expresses the recognition of a particular object as belonging to a specific group or category.
In our case, as in many others, exceptions to the qualitative aspects defining the category will serve as confirmations of the general rule. That is, the general rule subsume its own “exceptions” as individual manifestations or differentiated or aggregated aspects within the universe of the norm or type.
For Grube the main or defining characteristics of Islamic architecture are:
- Concentration or emphasis on the interior. The Muslim house inner orientation is here the “archetypical” example (or perhaps we could say: the source) - the inner courtyard, the continuous, unbroken external wall with a single narrow entrance, within the narrow streets of traditional town spaces that can hide even large buildings (which are most often surrounded by secondary adjacent constructions). The result of that emphasis on the interior space is also a lack of correspondence between the facade of a building and its interior space : the interior is not revealed or anticipated by the external appearance. In this sense, a building becomes a structure to be penetrated and experienced from within, not to be contemplated and understood from an external point of view. Given these aspects, Grube will speak of a “hidden architecture”, that is, visually “obstructed”, and requiring or demanding the exploration of its internal space to be revealed as such: these, he observes, are characteristics of Islamic urban architecture, by contrast to the non-urban Islamic building-types (the caravanserai, fortifications, isolated monumental tombs, etc.)
- The “adaptability” of a given form to a variety of functions, or more precisely, the predominance of form over function, of design over use, of the “ideal” concept or form over other kinds of considerations related to individual contexts, etc. The dome, for instance, according to Grube, is a kind of “general symbol” marking a central space that appears in both secular and religious buildings alike, and therefore per se does not help us to identify a building function or type.
- From that aspect may also follow the lack of directional or axial quality, expressed in the non-correspondence between physical and functional directions. Islamic buildings in general, by contrast to Western forms or types of architectural structures, may lack a strong focal point or clear direction, or, putting it in a different way: we may say they subsume those under a formal concept that allows for continuous expansion and accretions of various kinds.
What may from a given perspective be seen as a lack of balance and disregard for the strict symmetry of, for instance, classical, that is, Greco-Roman forms, can be seen as the result of a specific concept of space reflected also in the forms and ornamentation of interior spaces.
“ Enclosed space, defined by walls, arcades and vaults, is the most important element of Islamic architecture” writes E. Grube. Consequently, the emphasis of decorative work will be related to the articulation, embellishment and transformation of interior spaces. The aim will be, according to Grube, the “creation of non-tectonic values” , that is the “negation” of the of structural elements in their individual aspects, articulations and functions.
While the general aim of classical Western architecture was to “express” the structural elements and their relations, the relative interdependence of aesthetic and function, of form and structure, Islamic architecture wants to visually “do away with” weight, ostensive supporting elements, evident infrastructural articulations of individual parts, etc, in favor of a continuous, unfolding, limitless space, in the production of which the profusion or ornaments, the generative quality of decorative designs, wether painted forms, sculptural reliefs, or accessory elements (textiles, lamps, etc) play a very significant part.
Patterning, repetition of decorative motifs and of architectural units (arches, columns, cupolas, etc, etc) are aspects of the same will to form that we can designate as a will to infinity, spatial infinity as well as temporal infinity, assuming the form of visual rhythms and resulting in a specific concept of architecture as a type of musical art.
Certainly, to typify is to abstract from the multiplicity of aspects of a given object or phenomenon and to present, within the consideration of a series or group of related phenomena, a “condensation” of reality that may never be given, or be observed “as such”. Therefore, a listing of qualitative aspects should not be understood as the creation of a “fictitious” meta-object that takes the place of the real object of research, but simply as an orientation for grouping a number of different objects under a common concept. The common or general denomination expresses the recognition of a particular object as belonging to a specific group or category.
In our case, as in many others, exceptions to the qualitative aspects defining the category will serve as confirmations of the general rule. That is, the general rule subsume its own “exceptions” as individual manifestations or differentiated or aggregated aspects within the universe of the norm or type.
For Grube the main or defining characteristics of Islamic architecture are:
- Concentration or emphasis on the interior. The Muslim house inner orientation is here the “archetypical” example (or perhaps we could say: the source) - the inner courtyard, the continuous, unbroken external wall with a single narrow entrance, within the narrow streets of traditional town spaces that can hide even large buildings (which are most often surrounded by secondary adjacent constructions). The result of that emphasis on the interior space is also a lack of correspondence between the facade of a building and its interior space : the interior is not revealed or anticipated by the external appearance. In this sense, a building becomes a structure to be penetrated and experienced from within, not to be contemplated and understood from an external point of view. Given these aspects, Grube will speak of a “hidden architecture”, that is, visually “obstructed”, and requiring or demanding the exploration of its internal space to be revealed as such: these, he observes, are characteristics of Islamic urban architecture, by contrast to the non-urban Islamic building-types (the caravanserai, fortifications, isolated monumental tombs, etc.)
- The “adaptability” of a given form to a variety of functions, or more precisely, the predominance of form over function, of design over use, of the “ideal” concept or form over other kinds of considerations related to individual contexts, etc. The dome, for instance, according to Grube, is a kind of “general symbol” marking a central space that appears in both secular and religious buildings alike, and therefore per se does not help us to identify a building function or type.
- From that aspect may also follow the lack of directional or axial quality, expressed in the non-correspondence between physical and functional directions. Islamic buildings in general, by contrast to Western forms or types of architectural structures, may lack a strong focal point or clear direction, or, putting it in a different way: we may say they subsume those under a formal concept that allows for continuous expansion and accretions of various kinds.
What may from a given perspective be seen as a lack of balance and disregard for the strict symmetry of, for instance, classical, that is, Greco-Roman forms, can be seen as the result of a specific concept of space reflected also in the forms and ornamentation of interior spaces.
“ Enclosed space, defined by walls, arcades and vaults, is the most important element of Islamic architecture” writes E. Grube. Consequently, the emphasis of decorative work will be related to the articulation, embellishment and transformation of interior spaces. The aim will be, according to Grube, the “creation of non-tectonic values” , that is the “negation” of the of structural elements in their individual aspects, articulations and functions.
While the general aim of classical Western architecture was to “express” the structural elements and their relations, the relative interdependence of aesthetic and function, of form and structure, Islamic architecture wants to visually “do away with” weight, ostensive supporting elements, evident infrastructural articulations of individual parts, etc, in favor of a continuous, unfolding, limitless space, in the production of which the profusion or ornaments, the generative quality of decorative designs, wether painted forms, sculptural reliefs, or accessory elements (textiles, lamps, etc) play a very significant part.
Patterning, repetition of decorative motifs and of architectural units (arches, columns, cupolas, etc, etc) are aspects of the same will to form that we can designate as a will to infinity, spatial infinity as well as temporal infinity, assuming the form of visual rhythms and resulting in a specific concept of architecture as a type of musical art.
Marcelo Guimarães Lima
(1) Grube, E. J. - What is Islamic Architecture?, in: Michell, G., editor, - Architecture of the Islamic World: its history and social meaning, London, 1978
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