THEORETICAL FRAMEWORK 1.4
1.4.3 Concept of Sacred Space
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Sacred spaces can be utilised through a variety of forms and elements. This may take the form of paths, which expand contract as they lead the user from one space to the next, even creating spaces of rest which act as focal points in a ‘spatial sequence’ (Porter, 2004: 124). “Significant transitions, thresholds and entranceways exist along paths and between the spaces connecting them to other spaces or to significant elements existing within the topography or cosmos” (Porter, 2004: 124). These spaces are dependent on orientation within its topography, evident by ancient builders and agreed upon by contemporary architects. Eliade (1961) agrees with the importance of orientation with regard sacred space and states, “nothing can begin, nothing can be done, without a previous orientation” (Eliade, 1961: 22).
Eliade (1961) thereafter identifies sacred space, characterising it by its existential value because any orientation “requires a dependable, permanent source” (Stevens, 2014: 19). It is therefore imperative for the religious man to locate his abode “at the center of the world” (Eliade, 1961: 22).
The importance of encountering sacred space within our everyday lives is stressed by Mario Botta, who argues that “there is a compelling need for sacred space within everyday life, an incontrovertible necessity that has been confirmed over the centuries by sublime examples, and that has now re-emerged decisively, perhaps in an extreme attempt to respond to the incompleteness of the contemporary dimension” (Innes, 2016: 2-3). According to Botta, there needs to be more engagement than a weekly religious ritual/ ceremony, something more frequent and less ceremonial, as these rituals/ ceremonies could eventually become a routine, potentially losing the essence of the religious and sacred influence initially sought after.
Eliade (1961) supports Mario Botta’s views when describing sacred space, labelling it as ‘wholly other’ and a “break within the homogeneity of space” (Eliade, 1961: 21). The homogeneity he refers to is that of profane space, which is ‘neutral’. Eliade (1961: 21) also argues that for both the ‘religious’ and ‘non-religious’ man,
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no space can be considered neutral, however, through identifying the difference between the sacred and profane gives meaning of life to the living.
IRudolf Schwarz (1958) explores Christian worship space in order to understand how one experiences sacred space in the modern day. Schwarz (1958) studies historical evolution of churches, mentioning the influence other building typologies had on Christian religious architecture (Schwarz, 1958: 7-8). He presents six plans which together, form the seventh plan: ‘The Cathedral of All Time’.
The First Plan:
Sacred Inwardness: The Ring
The Second Plan:
Sacred Parting: The Open Ring
The Third Plan:
Sacred Parting: The Chalice of Light
The Fourth Plan:
Sacred Journey: The Way
The Fifth Plan:
Sacred Cast: The Dark Chalice
The Sixth Plan:
The Dome of Light
1.4.3.2 Origin & Primary Advocates of Sacred Space
In his book The Sacred and the Profane (1961), Mircea Eliade introduced us to his philosophical thoughts on the concept of sacred space, and with his profound understanding and knowledge of the subject, makes him the primary advocate for the concept.
It is due to his understanding of religion which forms the basis of his concepts of hierophany and theophany, defining them as “hierophany being the manifestation of the holy and theophany means manifestation of God or the divine into the mundane world” (Eliade, 1961: 22). Hierophany refers to any manifestation of the sacred (sacred tree, stone etc), while theophany refers to the appearance of a deity to a human being. Hierophany is therefore more permanent than that of theophany. Eliade (1961) further refines and explains this concept of hierophany by adding that it “gives structure and orientation to the world, establishing a sacred order”
(Eliade, 1961: 20–22).
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1.4.3.3 Supporting Concept: Mnemonics
Mnemonics can be defined as “the study and development of systems for improving and assisting the memory” (Anon, 2017b). Mnemonics are linked directly with memory, as D’Arcy (2010) notes, “mnemonics are a group of memory aids, or mental ‘slights of hand’ that facilitate the quick and easy assimilation of information of all kinds” (D’Arcy, 2010: 3). His description of mnemonics includes that of facts, figures, names, faces and events.
Mnemonics also incorporates the use of the human imagination, together with the individual senses, “in order to transform a dull, dry piece of text into a firm and vibrant memory that is not just easy to remember, but difficult to forget”
(D’Arcy, 2010: 3). In relation to the senses, this is where the design of spaces and places can evoke memories within individuals and collectives, through their mnemonic capacity. Hallam & Hockey (2001) add that sight is the primary sensual means by which memories can be generated and maintained (Hallam
& Hockey, 2001: 130).
Similarly, emotions have mnemonic capabilities. It was understood in ancient philosophy that all memories involve some sort of emotion, and every individual memory is “physiological, bodily phenomenon” (Carruthers & Ziolkowski, 2002:
8). Furthermore, Carruthers and Ziolkowski state that “there is no such thing as an emotionally detached memory” (Carruthers & Ziolkowski, 2002: 8). The medieval conception of memory regarded ‘things’ that were seen as “extreme
in their emotive capacities” to be the most readily remembered (Hallam &
Hockey, 2001: 203).
According to D’Arcy (2010: 4), mnemonics takes advantage of the way the human mind absorbs information, and there are three stages which lead to the formation of a memory:
Observation- events need to be observed for it to be committed to memory.
D’Arcy (2010: 3) notes that there is a difference between seeing and observing.
Association- “All memory is based upon association. To remember one piece of information, we invariably associate it with another already committed memory.
This is usually done without our conscious awareness” (D’Arcy, 2010: 3).
Visualisation- The stronger the memory, the more visual they are in nature.
Events are more easily recalled than text read on a page or screen. Vibrant images add to mnemonic capacity.