Architect of One Culture - Essay Example

Is it possible for the architect of one culture to design for another Table of contents Introduction. 2. Interosculation of cultures. 3. Examples. 4. Conclusion. 1. Architecture as a kind of art appeared in the Ancient World when peoples and nations realized themselves as independent cultural and religious states. Architecture was always tightly connected with religious and cultural bias of a state and peoples living in it. It is mainly reflected in temples, churches, mosques, pagodas and other religious architectural monuments. There are a lot of different styles of religious architecture throughout the world which have historically changed under different circumstances. As a rule, the most outstanding cultural and religious buildings are connected with concrete architects and masters, and in most cases architects adhere with the same religious conceptions in which a temple is to be designed - an architect embodies his own religious conception and faith in marble and stone. There are many architectural features which are inherent to different religions. But do the architect's faith and the style of the building designed always coincide The purpose of the paper is answering the following question: is it possible for the architect of one culture to design for another Are there such examples in the history of architecture 2. Interosculation of cultures, including religious, occurs rather often throughout history. "Initial attempts at training the Ottoman architects in contemporary building techniques and European styles were made in 1801, at the new Imperial College of Military Engineering. The first foreign instructor commissioned to teach young Muslim architects was probably the British architect, W.J. Smith" (1). So, in early 19th century (and even earlier) began the interaction of Ottoman and European architectural traditions that is very important for architectural development in the West (Christian culture) and in the East (Muslim culture basically). "The effects of Westernization upon the Ottoman Architecture commenced with the changes seen in applied decoration... Ottoman architects reinterpreted Western influences on the Ottoman manner" (1). As we see, interosculation of architectural styles leads to changes in architecture which can be very important. "More modern examples can be seen in the works of Antonio Gaudi, the great Spanish architect who studied Islamic art and architecture and even incorporated its themes into Spanish church buildings, such as the school he built for a convent in Ejica, Spain" (2). So, Antonio Gaudi, transforming the main features of Islamic architecture for the European and Christian one, could use it designing church buildings. "Islamic architecture has influenced European culture even more than it has American culture, as is evident in Venice on Italy's Adriatic coast" (2). Interosculation of cultures gives the beginning of original architectural styles having features of both Christian and Islamic cultures, so it is not surprising that it can be possible for the architect of one culture to design for another. "In the mid-1920s, developer Glen Curtiss bought land north of Miami and built an entire city of Moorish buildings. Under Curtiss' plan, nearly every building in Opa-locka, Fla., had a dome and minaret. It became known as "the Baghdad of the South" (2). This example also tells about interaction of two religious cultures in architecture. "The history of Islamic architecture will always be intertwined with the US, Europe and other continents Even during the Crusades Europeans who went to the Holy Land were changed by what they saw in Egypt, Syria and other countries" (2). Throughout the history of the Middle Ages Arabian influence on the European architecture was especially high. During the Crusades Europeans firstly touched to Islamic architecture and culture having apprehended its main features and canons. During the Arabian seizure of Spain Islamic architectural elements became widely spread in Europe in spite of differences between Islam and Christianity. European architects apprehended much of Muslim features and studied to design buildings and temples of other culture. There are many examples when the architect of one culture designed for another. 3. Ibn Tulun Mosque (9th century AD) in Egypt is one of such examples. "Western sources claim that the architect of the mosque was an Egyptian Christian who proposed to employ piers to substitute the large number of columns, necessary to support the roof span of this mosque's magnitude" (3). The mosque was named in honour of the Emir Ibn Tulun who ruled Egypt that time. One more example is The Royal Mosque Al Rifai in Cairo: "it marks a new era in the history of Egyptian architecture since it was the first major structure designed with the neo-Memluk style" (4). It was completed by two European Christian architects. "Construction resumed in 1905 upon the orders of II. Abbas Hilmi, who entrusted Max Herz Bey, the Austro-Hungarian architect in charge of the Committee for the Conservation of Arab Monuments in Cairo, to complete the Mosque. Herz was aided by the Italian architect Carlo Virgilio Silvagni" (4). So, European Christian architects designed the main elements of the Mosque. "The Mosque is an architectural expression of the Royal Family's inception of national symbols. It's association with the Memluk legacy is manifested by its remarkable emulation of the massing, use of material, colour, and details of the adjacent Mosque of Sultan Hasan" (4). The Mosque is rather big. Observer's imagination is amazed by its size. "The building covers an area of 1767 square meters. It is flanked by four massive columns on which the pointed arches which divide the mosque into three porticoes stand. Two marble columns, one white and the other dark green, stand at the sides of the great dome" (4). The European architects made the Mosque very beautiful and harmonic. It makes a brilliant ensemble with other religious buildings: "It stands opposite the grand mosque of Sultan Hasan as an attempt of the Khedival family to measure up to the achievements of the Mamluks" (5). The Mosque of Muhammad Ali Pasha, Cairo Citadel was also designed by a European architect. "The initial design of the mosque by the French architect Pascal Coste was to apply a neo-Mamluk style. Coste designed two mosques for Muhammad Ali: one in Alexandria and the Citadel mosque. Neither was ever built" (5). It was completed in the middle of the 19th century and has "a pure central-domed plan with two slender pencil minarets" (5). One more religious building designed by a French architect was planned to be in Baghdad. This mosque would be of very high importance for Iraqi people. "Saddam Hussein's Great Mosque" matches the excessiveness of the Iraqi Rais. Its French architect, Jacques Barrire, and his two engineer associates, who are about to go back to Baghdad to submit their last detailed plans, unveiled the exclusive model for us" (6). The 63 years old architect hoped the mosque to be the most huge and beautiful in the world. One of the most fascinating religious buildings in Morocco was also designed by a French architect. "Designed by French architect Michel Pinseau, it possesses the tallest minaret in the world standing at 200 metres. 20,000 worshippers can be accommodated inside the mosque at the same time The mosque was funded by donations from all over the country" (7). It was build by Hassan II in 1993. Materials for the Mosque were delivered from different parts of the world. "The marble for the mosque came from Agadir, the granite from Tafraoute, and the glass was imported from Venice" (7). The Friday Mosque in Isfahan was designed by an American architect Philip Johnson. He was not Islam adherent, but he said: "Who among us, I would ask, does not feel more religious after experiencing Chartres Cathedral, the Friday Mosque in Isfahan, or Ryoanji Garden in Kyoto Even more important than painting and sculpture, it is the primary art of our or any other culture" (8). The Great Mosque in Granada (Spain) was also designed with the help of a non-Islamic architect. "The landscape of the mosque was designed by the Spanish architect Renato Ramerath in harmony with typical Granadian architecture. It is made up of three main sections: the mosque which can accommodate up to 400 worshippers at a time, the cultural centre and the gardens' area" (9). The Mosque is very large by its area and size. "The Great Mosque of Granada is built on 2,100 square metres and looks out onto the once highly symbolic Alhambra Palace. The land was bought in Albayzin, an area that represents the urban essence of Andalusia, with financial backing mainly from Libya, Malaysia, the United Arab Emirates and Morocco" (9). Islamic traditions in Spain are very strong - during more than 700 years Spain was under the Arabs rule, and Granada "was the city which stood witness to a fall from grace that ushered in a new period of Muslim weakness and decay whose impact is felt to this very day" (9). There is an interesting version that Taj Mahal was also designed by a European architect. "Some European scholars held the view that the Taj Mahal was designed by an Italian - Geronimo Veroneo. This was first suggested by Father Manrique, an Augustinian Friar" (10). But other historians say there are no real facts that it is true. "However, nowhere else is mention made of Veroneo's participation in planning the Taj Mahal. As a matter of fact, there is no record that Veroneo had any skill other than that of working gold" (10). 4. As was shown above, there are many facts that European architects who adhere with Christian Church designed some Islamic mosques and other religious buildings or took part in it. It can be explained. The main religious and cultural doctrines remain stable throughout centuries. Religion as the faith of people in God, kindness and social justice is always constant. But architecture is a kind of art, people's self-expression stiffen in stone, marble and gold. Architecture as an art is changeable; its development directions depend on many historical, social and political factors. So, it is possible for the architect of one culture to design for another. An architect as a creator cannot be limited by religion and culture. References 1. Ayse Nasir. Concept of Westernization and the Role of Foreign Architects in 19th century Ottoman Architecture. (http://sanat.bilkent.edu.tr/interactive.m2.org/Architecture/nasir.html). 2. Building designs flavored by Islam - II. Bahram Tribune. Saturday(June25,2005) (http://www.bahraintribune.com/ArticleDetail.aspCategoryId=4&ArticleId=56055). 3. Ibn Tulun. Muslim Heritage. (http://ww.muslim-heritage.com.topics./default.cfmArticleID=334) 4. The Royal Mosque - Al Rifai. (http://www.geocities.com/hazemsakr/royal/rifai.html) 5. XIXth Century Religious Architecture. (http://ocw.mit.edu/OcwWeb/Architecture/4-614Religious-Architecture-and-Islamic-CulturesFall2002/LectureNotes/detail/baroque.htm) 6. The mosque of the Arabian records. (March 1998), (http://perso.wanadoo.fr/joel.donnet/News71.htm) 7. Purobi Menon. Moroccan mystique. The Hindu Business Line Internet Edition. (Friday, May 28, 2004) (http://www.thehindubusinessline.com/life/2004/05/28/stories/2004052800020300.htm) 8. Architect Philip Johnson Dies at 98. ABC News. (June 28, 2005). (http://abcnews.go.com/Technology/storyid=444396) 9. Back in Spain -- with a difference. Al-Ahram Weekly on-line. 7 - 13 August 2003. Issue No. 650. (http://weekly.ahram.org.eg/2003/650/fe1.htm) Taj Mahal Architect - Italian Architect. Indian Travel Portal. (http://www.taj-mahal.indiantravelportal.com/taj-mahal-italian-architect.html) Read More