The Harmony Center

For our groups’ Universal Sacred Space project, we began by considering the three “peoples of the book”, the Abrahamic religions of Muslim, Christianity, and Judaism. We felt that to provide a universal place of worship that each of these groups would accept as “sacred” would be the primary challenge. The issue is, to begin with, that to truly be a Sacred Space, the space must be dedicated solely to a single group and use. As such, our universal sacred space will be symbolic in itself of our planet and our need as a people to be able to coexist - to live together in peace and harmony regardless of our individual beliefs.

Our space will be a large building, which will incorporate into the architecture several symbolic references for each group who will worship here. The shape of the building will be a perfect circle. This will symbolize several things such as the infinity of God, unity, and the perfection of all creation. This will also allow for no preset ideas of how the space is intended to be used for a particular group. Around the perimeter, inset in the walls, there will be twelve rectangular windows beginning at the floor and extending to the top of the wall. These windows will be placed 30degrees apart and will be fitted with glass in a color scheme which corresponds to the colors of the rainbow (in order from shades of violet, blue, green, yellow, to red). These windows are to be symbolic as well. They will remind the worshipper of the twelve apostles of Christ, or the twelve tribes of Israel, or the equal spacing and regular geometry will be symbolic to the Muslim group as God’s perfection. Also, the rainbow color scheme will symbolize the promises of God. More architectural features can be introduced to provide more symbolism. For instance between each window, geometric shapes will be placed on the wall for each group. For Judaism, two equilateral triangles will be placed over each other, offset with one pointing up and the other pointing down. If these shapes were to be placed directly over each other, they would form the star of David. Similarly, for Christianity, two rectangular shapes would be placed offset such that if they were placed over each other, they would form the shape of a cross. Or three circular shapes could be placed in a linked pattern to symbolize the Holy Trinity. Each group would have the ultimate decision for what they wish to symbolize and how. The entry into the space would be via a large set of double doors. These doors would span almost the entire distance between two of the windows mentioned above. They would also extend to the top of the wall. In this way, the entrance, when open, would provide absolutely no obstruction to all who wish to come and worship in their own way.

Of course, providing the symbolism inherent in the architecture, provides a permanent sort of ownership for each of the groups who will use this space without directly “offending” any other group or diminishing the sanctity of the space for them. But, each group will also want to have more real symbols of their faith. Buddhists for example will require a statue of Buddha to be place in the space during their gatherings. It is for this reason, beneath the building, there will be a basement constructed with multiple, individual storage areas for each group to store their sacraments and religious artifacts. These can be brought out and placed in the space according to each groups requirements such as communion, etc.

Sacred Space Profile - Tim Gaston

The Notre Dame Du Haut
Timothy Gaston
Frank Lloyd Wright
Nov 8, 2007

General Description:
The Notre Dame Du Haute, or more correctly Chapelle Notre-Dame-du-Haut de Ronchamp in French, was designed by noted French/Swiss architect Le Corbusier and constructed from 1950-1954. The chapel was built for not just the local Catholic worshippers, but also as a pilgrimage location for worshippers (and artistic/architectural tourists as it turns out) from far away to travel to and worship. Since the space inside is small and will not accommodate many people-it was designed to accommodate upt to a parish of 200, Le Corbusier integrated into the chapel an outdoor pulpit/alter in order to accommodate the thousands of people who make the journey to this wonderfull place. The building in its beauty and sculptural aesthetics serves a a grand backdrop to these outdoor gatherings. The current building sits atop a high hilltop in Ronchamp, France. This very spot was where a long history of other chapels have stood in times past, the most recent destroyed during World War II.

Architecture:
While in some ways this building may appear plain, it is actually anything but. The church was designed to be inherently linked to the past in that the site chosen was where many previous chapels stood. In addition, some of the material left from the previous church was used in the construction of the current walls. The building is almost less architectural and more sculptural from an outward appearance. The roof takes on various symbolism depending on the viewer’s perspective. Some may see a “sail billowing in the windy currents on the hill top. The Christian Church sees itself as the ship of God, bringing safety and salvation to its followers.” (Wikipedia) The overall design is in many ways simple and yet also quite complex. The walls vary greatly in thickness from standard depths to depths of twelve feet. The widows are not like any you will see anywhere else. The are not just simple rectangular shapes, but rather geometrically complex . The feeling of simpleness comes primarily from the colors of the building. The walls are whitewashed concrete and the roof is a darker brown.

Harmony with Nature:
There are many ways in which the chapel stands in harmony in nature. The floor of the chapel was prepared so that it followed the line of the hilltop on which it rests downward to the altar. Integrated into the design is a rainwater collection system which provides for fresh water since water is in short supply on the hilltop. Inside the chapel, we see what I believe is the most profound example. The introduction of the irregular windows and the method of support for the roof provide the primary sources of lighting in the chapel. At the point which the roof is attached, there is an almost continuous opening where light can enter. This along with the irregular window shapes and clerestory windows not only provide for the functional lighting of the space, but also incorporate natural light into the architectural beauty of the chapel.

Symbolism and Sacred Objects:
One could likely find symbolism of one sort or another in many aspects of the chappel’s design. As mentioned before, the roof could be viewed as the sail of a ship. It could also be seen as simar to the shape of a Nuns head-dress. The curved shape of the “entrance elevation expresses the churche’s welcoming arms, embracing all that approach. It is also a maternal gesture, coming from the Virgin Mary, the patron saint of the church.” (arch.mcgill) There are many more examples of the focus on the Virgin Mary. For example, there is a wooden statue placed in a niche which is prominently displayed and constantly showered in light which gives this figure "an otherworldly glow from the darkened interior.” (arch.mcgill)

How it is Used by Worshippers:
While the facility is very different from most catholic churches in it’s design, it is generally used in very much the same way. The main difference is that while most of the time it is intended simply as a place of worship for the small local parish, twice a year special services are held outside for thousands of pilgrims come from far away to worship at this great, historical site. In addition, the chapel is used by “architecture worshipers” or tourists in their quest for unique places such as this to visit.

Sources:

Notre Dame du Haut
http://en.wikipedia.org/wiki/Notre_Dame_du_Haut

Notre-Dame –du-Haut
http://www.arch.mcgill.ca/prof/mellin/arch71/winter2000/mchan/precedents/corbu.html

Great Modern Buildings; Notre Dame du Haut
http://arts.guardian.co.uk/greatbuildings/notredameduhaut/0,,2183714,00.html

Sacred Space Profile - April Hatfield

April Hatfield
Frank Wright
Stonehenge

General Description

The Stonehenge is in Wiltshire, England. In a place called Salisbury Plain. The Stonehenge that we see today is not what was built in around 3,100 B.C. Most of the stones have eroded, crumbled, or have been removed by constant people visiting the site. In 1978 visitor contact was not allowed. Some people believe that the Druids built the Stonehenge. Other people believe that people built the Stonehenge in the Neolithic period around 3000 B.C. Although no one really knows who built the Stonehenge.


Architectural Design

Some people believe that the Stonehenge was built in three or four phases. Depending where you get your information. The first stage started around 3,100 B.C. Which consist of building of a bank and a ditch arrangement called a henge. People believe that the ditch was dug with tools made if antlers of red deer. The first stage was abandoned for about 1,000 years. The second phase of the Stonehenge was started around 2,150 B.C. This consists of the building of the Bluestones. Which is the inner circle of the Stonehenge. The Bluestones where believed to built out of stone of the Prescelly Mountain. The Prescelly Mountain was about 240 miles away from the site that the Stonehenge was being built at. This made getting the stones to the built site very difficult. The third and final stage started around 2,000 B.C. During this time they built the Sarsen Stones. The stones where taken from the Marlborough Downs near Avebury. This was about 20 miles away. Which helped in moving the stone to the building site. The builders did not have to go as far for the outer circle stones as they did for the inner stones. The final stages begin around 1,500 B.C. During this time the Bluestones where rearranged in a circular shape and a horseshoe shape.

Harmony and Nature

Some believe that the Stonehenge was built to indicate different times of the year. It indicates the winter and summer solstices. So they people can know when to plant and harvest the plants. It was also used in ceremonies. The Stonehenge was built from nature.

Symbolism and Scared Objects

Many historians believe that the Stonehenge was used and many rituals and ceremonies. Such as people used it for human sacrifices. It is also believed that the Stonehenge was a related to the God and Goddess of that time. The Stonehenge is also believed to be a symbol of the solar system.

How the Stonehenge used in by worshippers

Many different people used the Stonehenge in worship. The Wicca religion believes that the Stonehenge has very strong powers. They also believe that it is special to get married in the center of the Stonehenge. It is also believed that many people used the Stonehenge in rituals and ceremonies. The Stonehenge is believed to be a represent the solar system and the movement of the planets. During the time that it was built people depended on farming for their food. They were depended on the summer and winter solstice. The Stonehenge was believed to indicate the summer and winter solstice.

Sources

Lazzari, Margaret, and Dona Schlester. Exploring Art: A Global, Thematic Approach. 2nd edition Belmont: Thomson Wadsworth, 2005

“Sunrise at Stonehenge: a personal perception”. October 31, 2007.


“About Stonehenge”. Stonehenge.co.uk. November 1, 2007.


“How it was built”. Stonehenge.co.uk. November 1, 2007.


“Place of Peace and Power: Stonehenge, England”. November 2, 2007


“Stonehenge: A Mystical Temple” Controverscial.com. November 7, 2007

Sacred Space Profile - Erica Gott

Erica Gott
ART 1301-001
Gibney
8 November 2007

The Great Pyramid, Egypt

General Description:
The Great Pyramid of Giza, Egypt, is “756 feet (241 meters) square in plan, and 481 feet (153 meters) high. The angle of inclination of the triangular faces is about 51.5 degrees. The square of its height equals the area of each triangular face, as determined by Herodotus in 450 B. C. The base of the pyramid covers about 13 acres” (Great Pyramid of Khufu).
The pyramid has few open spaces within it. Those consist of passages to the two main rooms, called the King’s and Queen’s chambers, a grand gallery, a grotto and a subterranean chamber (Sacred Sites: Places of Peace and Power).

Architectural Design:
It has generally been accepted for many years that the Great Pyramid was built by the Pharaoh Khufu; however, this has been in dispute in recent years. Besides the fact that the people who supposedly built it did not have the appropriate tools to cut and quarry the stones, certain water markings on the stones and salt deposits found inside the pyramid lead one to believe that the pyramid may have been underwater at one time. The Giza Plateau has not seen that amount of water since eight thousand years before Khufu lived.
Harmony with Nature:
Some research has determined that objects placed within the Great Pyramid do not decay. There appears to be a channeling of energy, but no one understands why or how this occurs. Pyramids constructed on the same angles as the Great Pyramid exhibit similar characteristics, so perhaps this phenomenon is not strictly due to the pyramid’s physical location, but due to its geometry.
The following description is taken verbatim from the Sacred Sites website:
· The sides of the pyramid are lined up almost exactly with the cardinal points of the compass. The accuracy of this alignment is extraordinary, with an average discrepancy of only about three minutes of arc in any direction or a variation of less than 0.06 percent.
· The Great Pyramid functioned as an enormous sundial. Its shadow to the north, and its reflected sunlight to the south, accurately marked the annual dates of both the solstices and the equinoxes.
· The basic dimensions of the Great Pyramid incorporate measurements from which the earth's size and shape can be calculated. The pyramid is a scale model of the hemisphere, incorporating the geographical degrees of latitude and longitude. The latitude and longitude lines that intersect at the Great Pyramid (30 degrees north and 31 degrees east) cross more of the earth's land surface than any other lines, thus the pyramid is located at the center of the land mass of the earth (the pyramid is built on the closest suitable site to this intersection). The original perimeter of the pyramid equals exactly one-half minute of latitude at the equator, indicating that its builders measured the earth with extreme precision and recorded this information in the dimensions of the structure. Altogether these measurements show that the builders knew the exact dimensions of the planet as precisely as they have been recently determined by satellite surveys.
· The foundation of the Great Pyramid is amazingly level., No corner of its base is more than one-half inch higher or lower than the others. Considering that the pyramid's base covers more than thirteen acres, this near-perfect leveling far exceeds even the finest architectural standards of the present day.
· Measurements throughout the pyramid show that its constructors knew of the proportions of pi (3.14...), phi or the Golden Mean (1.618), and the "Pythagorean" triangles thousands of years before Pythagoras, the so-called father of geometry, lived.
· Measurements show that the builders knew the precise spherical shape and size of the earth and had accurately charted such complex astronomical events as the precession of the equinoxes and the lunar standstill dates. The minute discrepancies of the lengths of the base of the pyramid (several inches over the 230 meter length of its base) reveal not an error on the part of the builders but an ingenious means of incorporating into the pyramid the "discrepancies" of the earth itself, in this case the flattening of the earth's globe at the poles.

Symbolism and Sacred Objects:
Any sacred objects which may have been inside the Great Pyramid have long since disappeared. The facing stones were removed to help rebuild Cairo after a devastating earthquake in 1356 CE. Historical accounts tell us that these facing stones once had unusual writings on them, but those disappeared as the stones were ground down for new use.

How it is used by worshippers:
The Great Pyramid of Khufu is not used by Egyptians as a place of worship today, but primarily as an object of history. It remains a major tourist attraction to people from all over the world. The gods and goddesses of Egypt are mainly stories told for the benefit of those tourists, since the majority of Egypt’s citizens are Muslim. There are many people, however, who believe that pyramids, and especially the Great Pyramid, channel the energy of the universe. Tours are led to Egypt, and meditations and ceremonies are held within the pyramid, primarily in the King’s Chamber, but these have nothing to do with the citizens of the country. I was one of the privileged few who spent time in the King’s Chamber during the Spring Equinox of 2000. There were nine of us, and we were led in a meditation which profoundly affected me at the time.

Sources:
Great Pyramid of Khufu. Kevin Matthews and Artifice, Inc., 1994-2007. accessed 8 November 2007. http://www.greatbuildings.com/buildings/Great_Pyramid.html

Sacred Sites: Places of Peace and Power. The Great Pyramid, Egypt. accessed 8 November 2007. http://www.sacredsites.com/africa/egypt/great_pyramid.html

Museum Assignment - Erica Gott

The work of art I chose for this assignment is a painting entitled “Shotgun House,” by Al Brouilette. It is acrylic on paper, and is hanging at the Upstairs Gallery in Arlington, Texas. The image is of an older frame house positioned in the middle of the painting and extending to the left. Behind the house is what appears to be a dense wood, and in front of it a field of unmown grass with a few bushes.
There are some invisible lines in this painting. Grass is implied by directional brush strokes with just a few well-placed painted lines. It gives the painting life, as the grass seems to be blowing about in a breeze. More visible lines are seen in the outline of the house and the fence row. There are no figures in this landscape painting.
The artist does not make use of much negative space in this work, except for a small area of the grass in the foreground. The house is visually projected—I felt as though I were standing in a field of grass (or perhaps on a road at the edge of it) looking at this house. As for depth, the house is shown in perspective, as its size diminishes as your eye travels from the front of the house to the back (to the left in the painting).
The source of the light is implied, rather than obvious. The setting sun is to the right foreground, shining full on the front of the house, which is brightly lit except for the hard-edged shadows cast under the porch roof. The left side of the house is completely in shadow. The trees behind the show show some little bit of highlighting where the sun hits the first few at the edge of the wood; most mostly they are dark and shadowed. Except for where the sun strikes objects, the background is rather dark and receding. All shadows are created by the light, and created with color mainly, but also defined by hard-edges. The entire foreground of the painting is brilliantly lit, with not much shadow.
Most of the colors in this work are warm, rather than cool, with shades of brown (sepia, burnt umber), gray, and black, with splashes of terra cotta and a pale blue. I found the intensity of the colors to be indicative of the quality of the light implied. I imagined this setting to be autumn, at sunset. Most of the leaves on the trees have turned brown, and some have fallen. The grassy field is a pale yellow. Complementary colors of blue and orange are mostly seen in the foreground as either shadow or detail in the light. A bit of atmospheric perspective is shown in the blue gray sky visible between some of the trees, leading your eye further back in the wood.
This painting has a smooth texture overall, with one exception. The bushes in the foreground appear to have a somewhat fuzzy seedpod on them, but upon closer inspection, it is seen that the fuzziness is created by diluted splashes of paint that actually have no physical texture at all.
The balance is asymmetrical, with the house front in the middle of the image and the rest of it is positioned to the left hand side. This leaves the viewer with the impression that he or she could easily walk up to the front door and walk into the house. Dark shadows on the house contrast starkly with the front, indicating intense sunlight. The straight lines of the house appear to be tilted, so that the house appears to be leaning. This adds to the feel of age. The simple fence follows the line of the house from center to left, but rises as it moves left. This creates the illusion that the house is leaning even more.
The emphasis in this image is all about the house, and especially the front of it. There is a bit of rhythm in the bushes and their seedpods, repeated from the center of the image out to each side, but more of them on the house side. They serve to further carry the eye along the length of the house. The medium used, acrylic on paper, limits the artist to a thinner paint. No thick dabs of paint can be used, or the paper might buckle. The appearance is rather flat, giving it the appearance of a dry-brushed watercolor, rather than acrylic.

Museum Assignment - April Hatfield

The painting I decided to write about was La Pointe de La Hève at Low Tide by Claude Monet around 1865. I found this painting at the Kimball Art Museum. I chose this painting because of way it was painted. The portrait had many different things in it that I can describe. One of those is the light that is used in the picture. Another one is the colors that the artist used. Monet used emphasis in the paint by pulling the viewer’s eye to certain elements. The media and techniques that the he used while painting the portrait, are the type of paint that he used.
Monet used light in the portrait by adding clouds and some sunlight. I believe that the lighting in the painting was implied. The painting does not have a real source of lighting. The sun is behind the clouds but there is a hole in the clouds that let's some light thru. From the low lighting the objects in the painting have shadows. For instance, the people on the horses have a shadow behind them. Also the rocks that are on the ground have shadowing that would imply low lighting created by the lack of sun. The lighting also gives the painting a dark shade.
The artist used many different colors in the portrait. Monet used mainly earth tones. He used earth tones in the beach and the hill range in the background. He also used light colors. Monet used white and light beige on the water and beach. He also used light and dark blues to depict the sky and the clouds.
Monet used several different objects to pull the viewers eye to parts of the painting. In the foreground of the painting he used people on horseback. He also used a boat on the beach to draw the viewer’s eye to the foreground. Monet used a ship in the horizon of the painting. In the mid ground he used rocks in the water to draw the person’s eye to the middle of the painting.
Monet used oil on canvas to paint the portrait. Due to this the painting is two-dimensional. Oil is not a fast drying type of paint. According to what I have read it could take a day or up to two weeks to dry. This gave Monet time to make changes to the portrait. This also gave Monet the opportunity to make long strokes with his paintbrush. Since he used oil in this painting he gave the painting a shiny look. Monet was able to give the painting a lot of texture by clumping up the oil paint is areas that he wanted to stand out. I believe that the painting has faded a little over time due to the oils he used to make the painting. This painting gave me a sense of calm and peace. I felt like I was standing on the beach looking at the ocean. Going to the Kimball Art Museum was a new experience for me and I was a little surprised how much I enjoyed it. I am sure that I will be visiting it again in the future.

Museum Assignment - Tim Gaston

For my museum visit assignment, I chose to go to the Dallas Museum of Art in downtown Dallas. I browsed throughout the various galleries trying to find just the right work of art for me to view. In one of the galleries, I caught a glimpse of “Apollo’s Enchantment” by Benjamin West (1735-1820). The first thing that caught my eye was that despite the dim lighting in this area of the museum, this painting seemed to glow brightly. It is a beautiful depiction of the god Apollo “enchanting” the pantheon of Greek gods and muses with his playing of his lyre. The gods and muses are all aligned around Apollo in a celestial circle. The circle almost seems to be a rainbow cast from the brilliant sun image in the center adjacent to Apollo (god of sun) in the center of the circle. Besides admiring the beauty of the piece, I found myself wondering who each of the persons pictures around Apollo were and what each were thinking and feeling as they listened to the beautiful music. At the top, I would assume this figure to be Zeus, father of Apollo (Apollo is looking up to him), but the rest I could not say. I must say that I had dreaded this assignment since I have only been to an art museum once in my life – when, at age six, my mother dragged me with her to the Kimball Museum in Fort Worth. Having gone, I definitely plan on going again and spending a good portion of the afternoon browsing and enjoying. I will definitely spend more time studying this particular painting as well.

Analysis:

Apollo’s Enchantment by Benjamin West, 1807 – Oil on Canvas

West has introduced the use of circular lines in this work by creating a rainbow effect created by the sun image next to and almost part of Apollo in the center. Surrounding him are the Greek gods and muses enjoying his playing of the Lyre. Other areas where lines have been used are in the orientation and gestures of several of the subjects. Apollo himself is looking up at Zeus. The nymph at the bottom has her hands outstretched to Apollo.

The images of the figures around Apollo have been crafted in various sizes – the largest and most vivid are to the lower right. This gives the painting depth and perspective almost as if the two-dimensional painting is actually three-dimensional.

As stated before, the image of light in this work is magnificent. I find it difficult to explain in words. The light emphasizes the depth of the piece adding to its feeling of three dimensionality. The colors are that which you would see in late evening after a thunderstorm perhaps. This gives the feeling of a cool, misty atmosphere in which to lounge and enjoy good company and good music.

The work is somewhat asymmetrical and unbalanced in that there is a feeling of added weight or fullness to the right of the painting. This unbalance is created by both the added light on this side as well as additional, larger images.

The focal point of this piece is definitely Apollo and his Lyre. The sun image draws you eyes immediately to the center of the painting where he plays.
The rhythm is created in the circular gathering of the group. This suggests a sort of unity of the gods in their joining together to enjoy each other’s company, a beautiful evening and a good song.