Routes of Creativity & Inspiration, Dynamics, Atmosphere & “Aura” in the case of the National History Museum of Pakistan
[The National History Museum of Pakistan By Anjum Pervez, 2007]
Vassiliki GOGOU & Anastasia TSAPAROGLOU
(students of the Democritus University of Thrace, Greece)
Courtesy: worldarchitecture.org
The National History Museum of Pakistan is a project by Architect Anjum Pervez, 2007 who was among the winners of 20+10+X World Architecture Community Awards, 2nd cycle, and was selected by the votes of Honorary Members (among 20 projects). In this paper we are going to look at the building from the point of view of the atmosphere and the dynamics it conveys. Depending on the way the architect manipulates the dynamics and the atmosphere there are two routes of inspiration he may follow. Generally, the main function of a museum is to host the items of the exhibition, providing an appropriate background and producing a sensation without attracting too much attention on the design of the building itself. Visiting a museum may be considered as a process towards acquiring knowledge acquisition and thus it results in real education, especially if it is a National History Museum, which contributes to the people’s moral and mental maturation and evolution.
Indeed, from the inside of the National History Museum of Pakistan, the emphasis is on the display and not on the architectural design. The architect was not inspired by historical elements, not even symbolically nor through allusion to the past historical patterns. Pakistan’s history is characterized by various cultures as it has witnessed invasions and settlements by the Aryans, Persians, Greeks, Arabs, Turks, Afghans, Mongols and British. Moreover it is located in South Asia and borders Central Asia and the Middle East.1 Due to these facts, we do not encounter historical symbols inherited to compose the national identity of Pakistan. In conclusion, in the Pakistan’s history, due to its multiple elements, a symbol is not so salient, as compared, for example, to the Doric pillars in Ancient Greek civilization, to the Pyramids in Egypt or the pallazzi and villas in Rome.
However, an emotional process is triggered by something concrete that touches all human senses. This is attained by the adherence to a traditional symbol to which Pakistan lacks. Thus, the architect was inspired by an element out of the Pakistani culture symbolically, but deeply in relation with it, empirically of the Pakistan’s culture: the familiarization with the natural surroundings (as he mentions he was inspired by the Sharkaparian woods and the plains of Punjab, Potohar Plateau and its rivers).
Experiencing and being educated at the same time through the building is only achieved if the structure “finds its place” and if it is consolidated on the ground. Human is constantly and deeply bound to space. As somebody finds himself in a region for the first time he or she operates in order to orient oneself in the new terrain. Thus the determination of space constitutes something vital for the human being. According to the German philosopher M. Heidegger, who was occupied with the ontological sense of existence, the human being is also cosmic, meaning it is ontologically interconnected with space in a way that its definition of being is within the world.2 Every building constitutes a point of reference for the human being so that he could determine himself in the world. According to Heidegger a piece of art defines a place on Earth, especially when it is a building which constitutes an artistic creation building up the space for the human being.3 Thus, every building considering from the smallest shelter to the most grandiose monument is “the place”. The visitor experiences this educational moment, being exposed in this dominating atmosphere of the National museum of Pakistan. The architect has felt this kind of atmosphere when he visited the place of his inspiration, Potohar Plateau, for the first time. Then he expressed his sentiments on the material of creation. How are the artist’s feelings during creation related with those of visitors? During the process of creation, the shape, the area/size, the orientation of the lines are created by the mechanic motion of the hand and by the artist’s psychological mood.4
Psychological mood and mechanic motion are interconnected. The mood defines the force of motion. This desire of expression drives the hand to leave a trace on the material. The neural system is triggered by this desire to order the hand to move appropriately. This sequence desire-force-movement-mechanical energy is transferred on the material (paper, stone, copper/brass).
On a piece of art and on any visual experience, the observer may feel the perceptive forces, charges and resistance of gravitation and impulsion. This direct and simultaneous effect of forces that are observed on visual objects follows the perception but it is particularly decisive for the sensual experience that is founded on the expression and dynamism. The physiological forces of the artist/transmitter that organise the massive sensual material into patterns are the same that we perceive as dynamic components of visual stimulus.5 Generally, as it is observed, the dynamics are tools of expression. Moreover, Bullee 6 defines as “the character” of an artistic piece the subject of the result of effect which causes some impression in the spectator/receptor.7
The visual experience, in brief, is dynamic. A person does not perceive a sequence of objects but an interconnection of guiding tendencies. Dynamic is not a possibility of nature but an ordering of stimulus which is projected on the eyes and stakes out the limits of the dynamic properties.8 Thus the brain adheres dynamism to every noticed form spontaneously and instinctively in a way that the neural system could conceive its structure.9 Thus the architect, through dynamism, transmits to the receiver the locus of his inspiration.
The intense relief of the ground is expressed through planes that are placed in ostensible accidental diagonals axes and create the individual regions where the exhibits are going to be installed. These regions lay on the axis of movement promenade. Thus, as the water of river manoeuvres and exceeds its obstacles, the visitor is attracted by the exhibits deviating from his linear course. Afterwards, he/she returns to his linear axis, leaving the same sense with that of river.
From the latter, it is observed that he/she experiences the dynamics. The grand teacher of Bauhaus J. Itten was based on this qualification of the dynamics in order to make his students perceive the dynamics of several textures. He asked them to stand up and perform a circular movement with their arms until finally the entire body was in a relaxed, swinging motion. He followed also a similar method for other textures.10 This experiential qualification of the dynamics is what established it as a tool of atmosphere, of “aura”. Finally, during the process of creation, there are two routes for the architect which may activate and trigger his creativity. The first includes concrete principles, that is building planning, building regulations, technology etc.
The second includes mental, abstract principles/stimulus, that is interpretation of the building pattern, the use of transfer etc and belongs to those spiritual means that activate creativity and imagination. 11 The architect who follows the second route has two options: a) to be inspired by an abstract idea, to feel and conceive the aura of the building but shape it with a formalistic approach. b) to use the dynamics(and others means that do not belong to the object of this article) to express this atmosphere. An example of the first path exists in Crete, Greece where the Minoan Palace was rebuilt in order to create the same atmosphere that dominated in the Old Minoan Times. Mimetic approach of the Minoan palace in Crete, Greece on the other hand, an example of the second path is the museum constructed in Vergina, Greece where the ancient tumulus of Philippos are exposed. It is notable that in this case the atmosphere is an appropriate ambient for the tombs without imitating the background of the period.
Vergina, Greece
In addition, a relative example exists in Thira, Greece in the ancient settlement of Akrotiri where the protective construction of the roof creates an appropriate atmosphere for the ancient settlement.
Akrotiri, Greece
The inspiration by the immaterial atmosphere and the manipulation of the elements of visual perception in a way that the building serves its aim in a practical and ontological level as well as the creation of a familiar ambient constitutes the vision of that which can decode the architect’s initial intentions.
In this case, the architect was inspired by the sense of familiarity to the Potohar Plateau region and interpreted the atmosphere of this landscape via the dynamics. Unfortunately, in our days there are only a few buildings, even less museums that are created following the second route. We experience the era of images and barren impressiveness. Thus, the human factor is absent and a lot of buildings are perceived as sculpture. Humans are seeking the familiar. A museum like the National History Museum of Pakistan is made of the immaterial approaching the familiar and could be characterized as the locus of the nation.
Finally, this museum could be called ageless (a fact expressed in the intention of the architect) as it makes an effort to approach the inside of the human existence.
1 www.Wikipedia.org
2 “Art and Space” by M. Heidegger page 10
3 “Art and Space” by M. Heidegger pages 14-15
4“Art and Visual Perception: A Psychology of the Creative Eye” by Rudolf Arnheim pages 193-194
5 “The Dynamics of Architectural Form” by Rudolf Arnheim page 298
6 Louis Bullee was a visionary neoclassical architect (17th, 18th, century) who didn’t built but
influenced his generation especially on the idea of the museum
7 Oppositions Reader: Selected Essays 1973-1984 by K. Michael Hays page 89
8 “Art and Visual Perception: A Psychology of the Creative Eye” by Rudolf Arnheim pages 27, 476
9 “The Dynamics of Architectural Form” by Rudolf Arnheim page 353
10 “Design and Form, Bauhaus” by J. Itten page 62
11 “H Poiitiki tis Architektonikis” by A.Antoniadis page 15
Bibliography
“Design and Form, Bauhaus” by J. Itten, Edition: revised, illustrated
Published by John Wiley and Sons, 1975
“Art and Space” by M. Heidegger publisher Springer Netherlands, 2005
“Art and Visual Perception: A Psychology of the Creative Eye” by Rudolf Arnheim
University of California Press, 2004
“The Dynamics of Architectural Form” by Rudolf Arnheim University of California Press, 2001
Oppositions Reader: Selected Essays 1973-1984 by K. Michael Hays (Paperback – Nov 1, 1998)
“H Poiitiki tis Architektonikis” by A.Antoniadis (The Poetry of Architecture)
Ekdoseis anthropos kai xoros, Athina 1975
Vassiliki GOGOU & Anastasia TSAPAROGLOU
(students of the Democritus University of Thrace, Greece)
Courtesy: worldarchitecture.org
The National History Museum of Pakistan is a project by Architect Anjum Pervez, 2007 who was among the winners of 20+10+X World Architecture Community Awards, 2nd cycle, and was selected by the votes of Honorary Members (among 20 projects). In this paper we are going to look at the building from the point of view of the atmosphere and the dynamics it conveys. Depending on the way the architect manipulates the dynamics and the atmosphere there are two routes of inspiration he may follow. Generally, the main function of a museum is to host the items of the exhibition, providing an appropriate background and producing a sensation without attracting too much attention on the design of the building itself. Visiting a museum may be considered as a process towards acquiring knowledge acquisition and thus it results in real education, especially if it is a National History Museum, which contributes to the people’s moral and mental maturation and evolution.
Indeed, from the inside of the National History Museum of Pakistan, the emphasis is on the display and not on the architectural design. The architect was not inspired by historical elements, not even symbolically nor through allusion to the past historical patterns. Pakistan’s history is characterized by various cultures as it has witnessed invasions and settlements by the Aryans, Persians, Greeks, Arabs, Turks, Afghans, Mongols and British. Moreover it is located in South Asia and borders Central Asia and the Middle East.1 Due to these facts, we do not encounter historical symbols inherited to compose the national identity of Pakistan. In conclusion, in the Pakistan’s history, due to its multiple elements, a symbol is not so salient, as compared, for example, to the Doric pillars in Ancient Greek civilization, to the Pyramids in Egypt or the pallazzi and villas in Rome.
However, an emotional process is triggered by something concrete that touches all human senses. This is attained by the adherence to a traditional symbol to which Pakistan lacks. Thus, the architect was inspired by an element out of the Pakistani culture symbolically, but deeply in relation with it, empirically of the Pakistan’s culture: the familiarization with the natural surroundings (as he mentions he was inspired by the Sharkaparian woods and the plains of Punjab, Potohar Plateau and its rivers).
Experiencing and being educated at the same time through the building is only achieved if the structure “finds its place” and if it is consolidated on the ground. Human is constantly and deeply bound to space. As somebody finds himself in a region for the first time he or she operates in order to orient oneself in the new terrain. Thus the determination of space constitutes something vital for the human being. According to the German philosopher M. Heidegger, who was occupied with the ontological sense of existence, the human being is also cosmic, meaning it is ontologically interconnected with space in a way that its definition of being is within the world.2 Every building constitutes a point of reference for the human being so that he could determine himself in the world. According to Heidegger a piece of art defines a place on Earth, especially when it is a building which constitutes an artistic creation building up the space for the human being.3 Thus, every building considering from the smallest shelter to the most grandiose monument is “the place”. The visitor experiences this educational moment, being exposed in this dominating atmosphere of the National museum of Pakistan. The architect has felt this kind of atmosphere when he visited the place of his inspiration, Potohar Plateau, for the first time. Then he expressed his sentiments on the material of creation. How are the artist’s feelings during creation related with those of visitors? During the process of creation, the shape, the area/size, the orientation of the lines are created by the mechanic motion of the hand and by the artist’s psychological mood.4
Psychological mood and mechanic motion are interconnected. The mood defines the force of motion. This desire of expression drives the hand to leave a trace on the material. The neural system is triggered by this desire to order the hand to move appropriately. This sequence desire-force-movement-mechanical energy is transferred on the material (paper, stone, copper/brass).
On a piece of art and on any visual experience, the observer may feel the perceptive forces, charges and resistance of gravitation and impulsion. This direct and simultaneous effect of forces that are observed on visual objects follows the perception but it is particularly decisive for the sensual experience that is founded on the expression and dynamism. The physiological forces of the artist/transmitter that organise the massive sensual material into patterns are the same that we perceive as dynamic components of visual stimulus.5 Generally, as it is observed, the dynamics are tools of expression. Moreover, Bullee 6 defines as “the character” of an artistic piece the subject of the result of effect which causes some impression in the spectator/receptor.7
The visual experience, in brief, is dynamic. A person does not perceive a sequence of objects but an interconnection of guiding tendencies. Dynamic is not a possibility of nature but an ordering of stimulus which is projected on the eyes and stakes out the limits of the dynamic properties.8 Thus the brain adheres dynamism to every noticed form spontaneously and instinctively in a way that the neural system could conceive its structure.9 Thus the architect, through dynamism, transmits to the receiver the locus of his inspiration.
The intense relief of the ground is expressed through planes that are placed in ostensible accidental diagonals axes and create the individual regions where the exhibits are going to be installed. These regions lay on the axis of movement promenade. Thus, as the water of river manoeuvres and exceeds its obstacles, the visitor is attracted by the exhibits deviating from his linear course. Afterwards, he/she returns to his linear axis, leaving the same sense with that of river.
From the latter, it is observed that he/she experiences the dynamics. The grand teacher of Bauhaus J. Itten was based on this qualification of the dynamics in order to make his students perceive the dynamics of several textures. He asked them to stand up and perform a circular movement with their arms until finally the entire body was in a relaxed, swinging motion. He followed also a similar method for other textures.10 This experiential qualification of the dynamics is what established it as a tool of atmosphere, of “aura”. Finally, during the process of creation, there are two routes for the architect which may activate and trigger his creativity. The first includes concrete principles, that is building planning, building regulations, technology etc.
The second includes mental, abstract principles/stimulus, that is interpretation of the building pattern, the use of transfer etc and belongs to those spiritual means that activate creativity and imagination. 11 The architect who follows the second route has two options: a) to be inspired by an abstract idea, to feel and conceive the aura of the building but shape it with a formalistic approach. b) to use the dynamics(and others means that do not belong to the object of this article) to express this atmosphere. An example of the first path exists in Crete, Greece where the Minoan Palace was rebuilt in order to create the same atmosphere that dominated in the Old Minoan Times. Mimetic approach of the Minoan palace in Crete, Greece on the other hand, an example of the second path is the museum constructed in Vergina, Greece where the ancient tumulus of Philippos are exposed. It is notable that in this case the atmosphere is an appropriate ambient for the tombs without imitating the background of the period.
Vergina, Greece
In addition, a relative example exists in Thira, Greece in the ancient settlement of Akrotiri where the protective construction of the roof creates an appropriate atmosphere for the ancient settlement.
Akrotiri, Greece
The inspiration by the immaterial atmosphere and the manipulation of the elements of visual perception in a way that the building serves its aim in a practical and ontological level as well as the creation of a familiar ambient constitutes the vision of that which can decode the architect’s initial intentions.
In this case, the architect was inspired by the sense of familiarity to the Potohar Plateau region and interpreted the atmosphere of this landscape via the dynamics. Unfortunately, in our days there are only a few buildings, even less museums that are created following the second route. We experience the era of images and barren impressiveness. Thus, the human factor is absent and a lot of buildings are perceived as sculpture. Humans are seeking the familiar. A museum like the National History Museum of Pakistan is made of the immaterial approaching the familiar and could be characterized as the locus of the nation.
Finally, this museum could be called ageless (a fact expressed in the intention of the architect) as it makes an effort to approach the inside of the human existence.
1 www.Wikipedia.org
2 “Art and Space” by M. Heidegger page 10
3 “Art and Space” by M. Heidegger pages 14-15
4“Art and Visual Perception: A Psychology of the Creative Eye” by Rudolf Arnheim pages 193-194
5 “The Dynamics of Architectural Form” by Rudolf Arnheim page 298
6 Louis Bullee was a visionary neoclassical architect (17th, 18th, century) who didn’t built but
influenced his generation especially on the idea of the museum
7 Oppositions Reader: Selected Essays 1973-1984 by K. Michael Hays page 89
8 “Art and Visual Perception: A Psychology of the Creative Eye” by Rudolf Arnheim pages 27, 476
9 “The Dynamics of Architectural Form” by Rudolf Arnheim page 353
10 “Design and Form, Bauhaus” by J. Itten page 62
11 “H Poiitiki tis Architektonikis” by A.Antoniadis page 15
Bibliography
“Design and Form, Bauhaus” by J. Itten, Edition: revised, illustrated
Published by John Wiley and Sons, 1975
“Art and Space” by M. Heidegger publisher Springer Netherlands, 2005
“Art and Visual Perception: A Psychology of the Creative Eye” by Rudolf Arnheim
University of California Press, 2004
“The Dynamics of Architectural Form” by Rudolf Arnheim University of California Press, 2001
Oppositions Reader: Selected Essays 1973-1984 by K. Michael Hays (Paperback – Nov 1, 1998)
“H Poiitiki tis Architektonikis” by A.Antoniadis (The Poetry of Architecture)
Ekdoseis anthropos kai xoros, Athina 1975
0 comments: