Transcendence and interiority in architecture : a study of Hagia Sofia, 532-537

The late historian Robin Evans, takes up the debate symbolised between Wblfflin, proposing that meaning is directly accessible through the form of a building, and Wittkower, arguing that meaning lies behind the form of architecture, in other texts and ideas. The focus of their argument is the centralised church of the Renaissance, which holds a special place in the history of architecture for all three historians. Evans\u27 argument makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. He concludes that architecture, in its singular artistic physicality &quot;suspends our disbelief in the ideal&quot;, offering a world that does not reflect culture, in all its fullness, but rather supplements culture\u27s incompleteness. Architecture, like art is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order. Does architecture aspire towards transcendence, if so, what is transcendental value in architecture? In this essay I want to turn to Hagia Sofia (Istanbul, 532-537), a church that marks the beginning of a Christian empire relocated to the East of Rome, in Constantinople, built one thousand years before the Renaissance churches; and a building that symbolises the shift towards a domed centralised form, away from a basilica form. Hagia Sofia is an architecture, observed and described in an almost devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. What role does Hagia Sofia play in the kind of artistic mastery that Evans is proposing?<br /

Performing self and other in architecture : Staging Zaha Hadid

London-based Iraqi-born architect, Zaha Hadid, is often portrayed as extravagant and exotic; an image reinforced by her sense of fashion and her passion for the clothes of Japanese designer, Issey Miyake. By examining some of the ways that Zaha Hadid has staged herself as an architect, this article links notions of performance with processes of becoming an architect. It argues that Hadid is marked by traces of otherness&ndash;gender, culture, race&ndash;which give rise to questions about the story of the master architect dominating a westernized history of architecture and art

Uomo universale : the imaginary relation between body and mathematic(s) in architecture

What is the role of the human figure in the drawing of the uomo universale? Interlocked with the &ldquo;master architect&rdquo; as a constituent component of the canonical bodies of architecture, is the idea of the uomo universale, the universal man, an idea that was especially compelling to Renaissance masters. In contemporary social theory the uomo universale is read for its generic sense as the &ldquo;universal subject&rdquo;. Critical to this is a dialectical sense in which &ldquo;man&rdquo; confronts its non-neutral association with a gender specificity, either man or woman. This paper looks at the drawing and image of the uomo universale and explores the distinction between presence and representation, between the visibility of the image, its content and detail and the symbolic role of the image as constitutive of a canon of architecture. Though we are not meant to &ldquo;see&rdquo; the human figure as corporeal presence and rather focus our attention on the image as a geometric schema, my argument is that only through the figure is the uomo universale engendered as an image of the highest form of nature. <br /

Resisting assimilation : the mild aesthetics and wild perceptions of the migrant house

The physical adaptation, remaking and maintenance, or building of the house plays a significant role in immigrants&rsquo; sense of belonging to a community, especially in contexts of first generation elderly immigrants with minimal English language skills. Psychoanalytic theories propose that objects are integral to a subject&rsquo;s identity, but that the path of effect between the subject and object is not causal or direct, rather it goes via the unconscious. This paper seeks to examine the relationship between immigrants and their houses through these theories adapting them to an analysis of the houses. It draws its data from field research of three elderly immigrant households. The iconography of the house has always been perceived as central to the analysis of dreams, here the thesis is that the house is the most significant object of the immigrant because it mediates the many worlds inherent to the migrant&rsquo;s imaginary landscapes. The analysis will seek to understand this role of the house.Secondly, while many houses in which migrants live can barely be differentiated in clear physical ways from the typology of houses built in Australia, the perception that they are different is a strong myth. At the least it has resulted in very little, if any, study of this vernacular of new Australian houses. It would be easy to argue that to build a house in Australia is the most important mode of assimilation because a way of life is intrinsically set by this suburban paradigm. But for the reason of this perception of difference I will explore an idea about ethnic aesthetics as a mode of resisting assimilation. In writing on taste in his seminal book, Distinction, the sociologist, Pierre Bourdieu, has argued that taste is a way of classifying people into classes, race, culture, but it is also a way for dominant and ruling classes to resist challenges from other parties, and maintain a particular hierarchy of society. In this case those other parties are ethnic communities in Australia whose tastes are not always the same as that of the dominant Anglo-Celtic community.<br /

Aesthetic anxieties : the problem of defining the migrant house in Australia

The interest of this paper concerns the problem about the migrant house &ndash; why has it been so difficult to define? In order to examine the problem of the lack of literature on the migrant house it is important to look at the literature on the Australian house, and to examine how the migrant house is positioned or not included in this literature. It will approach this through what is accepted as discourse analysis, but with a particular position informed by the work of Stuart Hall on representation

Sveta Bogorodica (The Church of the Holy Mother), Zavoj, Macedonia : writing about an insignificant vernacular building

Sveta Bogorodica (Church of the Holy Mother), Zavoj, is a small church built in 1934 in a village in the Republic of Macedonia. It presented a quintessential architectural division between a richly ornamented interior and a pure white formal exterior. The paper will examine the question of tradition in relation to architecture. What of the formal Byzantine architectural tradition is inherited in this folk vernacular church building? Secondly, tradition as an inherited liturgical ritual and ceremony. How are these two forms of tradition autonomous or intertwined, and how the question about transcendence in architecture pursued in the 2005 paper on Hagia Sofia might be understood within the parameters offered by this church building, will be explored in the paper .<br /