Philosophy and the Theory of Architecture - Essay Example

? Philosophy and the Theory of Architecture Architecture, its underlying philosophies and a look at Regent’s Park Mosque Architecture is underpinned by philosophical thinking. Different periods in history have reflected different ways of thinking, which are briefly explored, especially the architecture of religious buildings. For example, the Gothics put into practice scholastic philosophy, and there was a movement for the restoration of historic buildings after the French revolution. Some architectural practices such as correctional architecture have a more direct grounding in philosophy. Common features however, are considerations such as aesthetics, proportion, and surroundings. Present changes revolve mainly around the need to cope with environmental concerns but the despising of modernism runs deeper. It is generally seen as lacking in character. Prince Charles champions the call for returning to more traditional styles of architecture. A case study of Regent’s Park Mosque in London showed the building is a blend of both Islamic and modernist architectural elements. It reflects the thinking at the time of its construction. Nonetheless, it is evident of the diversity of ideas and practices present today. Architecture, its underlying philosophies and a look at Regent’s Park Mosque This paper examines some theoretical underpinnings of architecture from a philosophical perspective. It shows how theories of design presuppose specific concepts and theories. A brief overview is made of some historical and contemporary architecture and a discussion follows of present day changes in thinking on architecture. Attention is given to the views of Prince Charles on architecture as they represent those that are dissatisfied with modernism and who hearken back to earlier architectural thinking. The global environmental changes are also contributing to the changed approach. A case study is then made of a particular building in the UK in order to illustrate such ideas, namely the Regent’s Park Mosque in central London. Architecture is intricately related with philosophy. Architecture is after all an imposed organisation of a social space, and that space has to be designed with considerable thought. A certain intended expression is exuded, which holds associations and meanings for the people who see and use the building. Many important religious buildings for example, are designed to be imposing or soothing and evoke an appreciation and respect for the almighty being. They are designed to be experienced at a deeper level so they have strong philosophical foundations. These and other planned buildings are typically large or otherwise of some importance. They affect the lives of people in some significant way or other. Beauty is one of the important features of the outcome of architectural planning and what we come to expect from a specially designed building. According to de Botton (2008), ideas of a meaningful life are what we consider to be beautiful in architecture. People love beautiful buildings because they represent the kind of ideas about the world we live in and ourselves that they can relate with. The theme of his book deals with the search to find the kind of dwellings in which people could stand the greatest chance of happiness. In doing so, he traces the development of various styles of architecture that have attempted to satisfy human needs and desires. However, the explanation for what makes for happiness is more psychological than philosophical. People do not only associate beauty in buildings with their feelings but also their thoughts, and their conception of what is ideal. Kantian philosophers link aesthetics with using logic for aesthetic judgment. They “suppose that free beauty is simply beauty, but the beauty of works in particular arts is judged beautiful in the light of some antecedent notion of artistic perfection” (Mitias, 1994: 3). That is to say, a specially planned building as opposed to an ordinary building is usually judged based on some understanding of its nature and function. Planning involves in-depth thinking, which typically takes place according to some existing notions and ideas about what is required from the building and how best to satisfy them. Certain needs may be facilitated in the design whereas certain activities may be deliberately obstructed instead such as in arranging a secure area. Professional architects are educated in the art of designing buildings, how they should be constructed and located, and so on. They bring with them therefore a philosophical viewpoint, which they put to effective use. It is noteworthy however, that Kant himself eventually realised the futility in applying the concept of aesthetics to architecture, that is, without considering the purpose. Thus, in Wittgenstein’s Philosophical Investigations, it is propositioned that “the meaning lies in the use” (Wilson & Stonehouse, 1992: ix). This in turn “makes possible a unity of treatment on the subject of functional purpose that is all of a piece across the entire spectrum of ‘use’ from the simply utilitarian to the purely symbolic, from the humblest shelter to the most exalted monument” (Wilson & Stonehouse, 1992: ix). The development of architecture has also led to the development of its underlying principles with connotations of perfection, especially of geometrical qualities. Furthermore, it has led to the development of standardised design ideas, methods and techniques. Although there is a great cultural and religious diversity in the world, there still appear to be certain acceptable ranges and proportions that are universally applicable. Knowledge of these ideals can then be taken as a basis for architectural design. Beauty can be found in precise geometrical proportions and the Fibonacci sequence. However, essentially it is a search for patterns, consistency, familiarity, and so on that underlies the acceptance of a design. There is a balance too between the form and the function. Hence, there is more than mere beauty alone to consider. Beauty of the form, and its use, are considered to be inseparable. According to Vitruvius who wrote Ten Books on Architecture, architecture depends on six qualities, namely order, arrangement, eurythmy, symmetry, propriety and economy. Vitruvius was a Roman architect and engineer and his book is believed to be the first such book on architecture. It espoused architectural ideals of the classical period. The first quality ensures that due measure is given, eurythmy ensures beauty, symmetry ensures harmony between different parts and the whole, propriety ensures perfection of style, and economy ensures the proper management of materials and the site. An architect would therefore need to possess knowledge of both physical and socio-cultural dimensions. This also includes knowledge of the setting given that buildings influence, and are influenced by, other buildings nearby. As for ancient Greek architecture, as Hegel observed, they were intimately identified with the city-states to which they belonged as also reflected in their architecture, yet they managed to introduce the Western world to critical thinking and individuality. He was also highly impressed by the architecture of the ancient Egyptian civilisation, noting how colossal its many structures were. Thus, certain periods in history have distinct architectures that reflect the prevailing philosophies of their time. Gothic architecture for example, is closely associated with scholastic philosophy. As noted by Radding and Clark (1994) in ‘Medieval Architecture, Medieval Leaning: Builders and Masters in the Age of Romanesque and Gothic’, there are similarities in the ‘mental processes’ both employed resulting in the attempts to develop comprehensive but integrated solutions for various aesthetic and intellectual tasks. Similarly, In ‘Gothic Architecture and Scholasticism’, Erwin Panofsky (1956) showed the link between the Gothic design of cathedrals and the intellectual methodology underlying scholastic theology. This gave rise to the understanding that architecture reflects the philosophical ideas of its time. Croddy (1999) disagrees with this aforementioned connection between Gothic architecture and scholastic philosophy. Although he is a correct in pointing out that the ability to integrate different elements of design into a unified spatial concept was not exclusive to the Gothic, the Gothic approach to architecture was clearly distinct from the previous approaches for structuring space. The philosophy does therefore reflect itself in the architecture and indeed some scholastic philosophers had a direct influence on the theory of architecture. For example, St Thomas Aquinas promoted the construction of churches to symbolise heaven on earth and its mysteries. He wrote that a church “should be dignified, evincing a noble beauty and should stand as a sign of a symbol of heavenly things” (Rite for the Dedication of a Church, in Dimock, 2000). The idea is that exterior worship should complement the interior and that God’s approach is through signs and symbolism that are perceived through our senses, which are needed to experience Him. After the French revolution, a new philosophy arose based on the need for restoration. Two prominent theorists of the time were Ruskin and Viollet-le-Duc. Ruskin held a conservative view and the latter held a liberal view. Ruskin’s approach was to value the picturesque while some wear and tear was tolerated. He regarded fine old buildings as sacred relics, hence the need to preserve them. This attitude was radically progressive; “for the sake of preserving the inspirational spirit of the past” (Heam, 2003: 300). Viollet-le-Duc stressed on the importance of structural stability. The idea was “to respect the evolution of a building throughout the duration of its historical life” (Heam, 2003: 303) while accommodating whatever is the current function. The various considerations had to be balanced appropriately “so that the final result may not resemble the exact appearance of the building at any specific moment in its historical life” (Heam, 2003: 304). This philosophical stance was one of pragmatism because of its emphasis on utility despite the goals of preservation. It is less polarised than Ruskin’s approach, and due to its versatility, it is still applied today. The principles as far as restoration is concerned are thus the same, unlike for designing new buildings. Another form of architecture that has a strong basis in philosophy and human psychology is known as ‘correctional architecture’. This type of architecture is best exhibited in prison systems. There is a specific purpose of controlling and correcting the behaviour of inmates such as to pacify them. The underlying penal philosophy was brought into practice when the Quakers and free-thinkers held a meeting with the then US president Benjamin Franklin in 1787 in which the psychiatrist Dr. Benjamin Rush devised a programme for treating criminals (Gill, 1962). This kind of practice is similar to the use of architectural ideas in classrooms as the purpose is to modify or encourage a particular type of behaviour among groups of people. Important contemporary changes are also taking place in the discipline of architecture that deserves closer examination. An important change in architectural thinking is the increasing emphasis on environmental considerations. It has come about because of the recognition that environmental effects also affect the lives of humans. There is a return therefore to the thinking in earlier civilisations of the need to respect nature. Taoism for example, stresses the importance of drawing close to nature. The pre-Socratic philosophers, as well as more recent philosophers such as John Dewey, understood this connection intimately. The latter was concerned with how people should live their lives, and the need to maintain appropriate social structures and equilibrium. There are in fact much wider cultural factors as well that are shaping present day architecture. This is reflected in the thinking on architectural practices and in the increasing interest in the built environment among social scientists and philosophers. Another noticeable change in thinking is the almost universal despising of modernism. It has been described as the “soulless container architecture” (Leach, 1997: intro). Neo-historicists reject modernism completely whereas postmodernists prefer a rethinking of existing ideas. As Leach (1997) states, there is a need to focus on the thinking given that it is thinking that gives rise to the products of architecture. The clash is between modernism and post-modernism on one hand, and classical or vernacular designs on the other. This detestation for modernism and support for more traditional architecture is championed by Prince Charles. He speaks on behalf of the all those who oppose the lifeless architecture of modernism. Prince Charles has an uneasy relationship with UK architects. In 1984, he strongly criticised modern architecture. More recently, he clarified his desire to a more original and organic form of architecture as opposed to recreating the past literally (Glancey, 2009). He described the modern flamboyant structures as “brash megalomania, which sometimes masquerades as creative design” (Hargan, 2007), and as “gross inhuman monstrosities” (Haldane, 1990). Examples of architecture that have particularly displeased his highness are the National Gallery extension in Trafalgar Square and the area around St. Paul’s cathedral in London. In regard to Paternoster Square, the area adjacent to St. Paul’s Cathedral, the prince was concerned with it being at odds with the historical character of the surroundings. Furthermore, the design failed to provide the three qualities of comfort, delight and inspiration. This dissatisfaction is not peculiar to the present times, that is, with contemporary architecture. People have also criticised earlier architectures in their period, so the situation is probably a reflection of dissatisfaction with the status quo and perhaps even insecurity, and the desire for change, improvement or perfection. An implementation of the principles true to the thinking of the prince is to be found in Poundbury, a new town developed in Dorchester, England, designed by Leon Krier. Its key features are an urban pattern, no use of zoning, focus on a high quality environment, and being people centric rather than car centric. The underlying philosophy is similar to that of the urbanism movement in the US except that the design is distinctly European. Not all environmental considerations however, seem to have been made given that some non-local building materials were also used. Nonetheless, there is evidence of an integrated approach as thought has been given to how the different buildings complement each other. Islamic architecture has also been making its presence felt in the UK. It is an expression of the Islamic religion and its underlying philosophy reflects its religious, moral and spiritual ideals. Islam offers a spiritual and integrated view of the world, so no area of life is exempt. The construction of social spaces is also subject to conforming to the ideals of the Islamic way of life. Prince Charles holds a particular fascination for Islamic architecture. For instance, he once toured the Sultan Qaboos Grand Mosque in Muscat in admiration of its architecture in 2003 (Vaidya, 2003). A fundamental difference in the Islamic approach to architecture is that the architect is not concerned with architectural beauty for its own sake. Rather, the purpose is to put one's best effort into building for the sake of God such that when others see, they are reminded of His omnipresence. Beauty usually becomes a natural outcome of the endeavour anyway, but it is a reflective beauty of the divine manifest in the material. The purpose is in line with the Quranic verse, “Wheresoever you turn, there is the face of God and God is all-Embracing, all-Knowing” (Al-Quran). For the case study, it was decided to give attention to Regent’s Park Mosque. This mosque is located in central London next to Regent’s Park and it houses the Islamic Cultural Centre. It was founded during World War II and the land was acquired in exchange for land in Cairo for an Anglican cathedral (BMH, N.d.). The final design was approved in 1969 following the launch of a global competition. The architect was Sir Frederick Gibberd, an English architect. King Faisal of Saudi Arabia helped finance the project by donating ?2 million. Its construction was completed in 1977. (Sacred Destinations, 2009) The golden dome and minaret are the main striking external features, which are expected given that it is an Islamic religious building. Inside the central hall is a huge chandelier, which makes it bear resemblance to some other mosques around the world, such as Faisal Mosque in Islamabad, Pakistan. Islamic decorative features are evident, for example, in the form of glass designs and motifs. The inclusion of library facilities in a religious building is also typical of the Islamic faith. The location of the main entrance in such a way that it is readily identifiable and situating the main prayer hall at a focal point of the facility are examples of good practices of orientation and visibility (Kahera et al.: 29). Such design considerations are necessary to ensure the mosque becomes functional and dynamic. However, it also bears resemblance to some modernist features in line with the area it is situated in, most notably through the extensive show of concrete. It therefore has a blend with a distinctly European modernist style of architecture, which makes it lose some appeal compared to other beautiful mosques around the world. The underlying philosophy is thus one of combining Islamic elements with the modernist approach to architecture. Some of the alternative architectural plans during the competition attempted to recreate smaller scale versions of existing Ottoman mosques in Istanbul given the limited space available (BMH, N.d.). If one of these designs had been chosen, the mosque would have had a distinctively oriental look instead of a European aspect to it, which would have made it more out of character with the surroundings. The design that was chosen is therefore justified to suit both requirements of having an Islamic building within a European setting. In conclusion, Regent’s Park Mosque is a blend of Islamic and European modernist architecture. It is perfect example of the need to construct an Islamic place of worship for UK Muslims on one hand and the need to blend in with the surroundings on the other. It epitomises the kind of architectural thinking that was prevalent at the time of its construction combining it with some typical Islamic features. Support for modernism is waning however. It is being heavily criticised for its lacking, and the rethinking on architecture is looking to reintegrate environmental values and classical ideas. In one way, the philosophical change is fundamentally not unprecedented because people always get dissatisfied sooner or later with the status quo and desire changes or they are made to change their thinking as situations change. This is especially true as a result of the environmental changes taking place. However, it is a unique turning point because the separation with nature, the disassociation with the environment and mathematical and spiritual ideals has taken its toll and has never before fallen to such depths. The present times therefore show signs of a paradigm shift taking place, although it is unclear exactly what will emerge. There will perhaps be a special blend of different architectural styles belonging to different periods as exemplified at Poundbury along the lines of thinking of Prince Charles, or a blend of different value systems symbolising globalisation, as exemplified by Regent’s Park Mosque albeit with less modernist aspects. Islamic architecture is an interesting introduction into the Western landscapes that complements earlier Gothic religious architecture. References BMH. N.d. London’s mosques. British Muslim Heritage. Available at http://www.masud.co.uk/ISLAM/bmh/BMH-IRO-london_mosques.htm [Accessed 30 January 2011]. Croddy, Stephen. 1999. 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Gulf News, 9 November 2003. Wilson, Colin St. John & Stonehouse, Roger. 2000. Architectural reflections: studies in the philosophy and practice of architecture. New edition. Manchester University Press. Read More