The Dance of Soma and Psyche This thesis is submitted to the AUT ...

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My main goal is to expose this ecstatic feeling by means of creating a materialistic ambiance, and creating the fusion of an earthly and heavenly experience at the same time (an out-of-body experience). A paradox of consciousness and unconsciousness, heaviness and weightlessness; an out-of-body experience is a state that a person can attain by ecstasy. It is a moment of timelessness. In my design project I am attempting to create a space where one can discover oneself and evoke the feeling of ecstasy—not a space to be isolated in. The unique quality of Sema dance and its effect of creating Khalseh has deeply influenced my project. The same sense of giddy delight that can be experienced through ecstatic architecture (space) can be induced by the Sema dancers (whirling dervishes). By a force that is impossible to resist, one that carries the body upwards against gravity, in which a sense of “to be put out of place” (Jencks, 1999, p.142) has been experienced. Once the whirling dervishes enter ecstatic states, the body experiences a sense of timelessness. The body opens; the soul is released as if one reaches a state of cleanliness and purity. Fig.7-8 Whirling Candle 10
Through one of my experiments of taking pictures of some spinning candles in a dark space, I was aiming to create something that shows how form can dissolve—echoing the way that the conscious self dissolves in ecstasy. The contrast of dark and light this produced gave me the idea of how lighting can create the mood that reflects my inner sense. Fig.9-12 11
Page 1 and 2: The Dance of Soma and Psyche This t
Page 3 and 4: “I hereby declare that this submi
Page 5 and 6: DEDICATION I dedicate this thesis t
Page 7 and 8: ABSTRACT “How colourless and form
Page 9 and 10: The second section, Islamic Calligr
Page 11 and 12: This exegesis also represents the p
Page 13: Architecture has the potential to b
Page 17 and 18: Fig.13 Spiritual scripts, names of
Page 19 and 20: Fig.15 Dynamic Form 15
Page 21 and 22: Islamic calligraphy has its figurat
Page 23 and 24: UNFOLDING SEMA DANCE INTO AN ARCHIT
Page 25 and 26: Fig.20-23: In these photographs, I
Page 27 and 28: Fig.24 There are strong links betwe
Page 29 and 30: Fig.26-27 Whirling Letters 25
Page 31 and 32: Fig.30 Spinning causes objects arou
Page 33 and 34: Fig.37-42 Folding and Unfolding- He
Page 35 and 36: HASSAN MASSOUDY: MAKING WORDS DANCE
Page 37 and 38: In 1972, Massoudy produced the show
Page 39 and 40: In 2005, Massoudy together with the
Page 41: THE SITE The site I have chosen is
Page 44 and 45: Fig.53 Fig.54 Red dots indicate the
Page 46 and 47: THE INTERIOR The design process was
Page 48 and 49: Fig.59 The structure blends with th
Page 51 and 52: Rhythm has been very important in m
Page 53 and 54: The other thing for me was to creat
Page 55 and 56: Fig.68 Although I wanted to use the
Page 57 and 58: I have paid special attention to th
Page 59 and 60: In an earlier experiment, the baske
Page 61 and 62: COLOURS Colours in calligraphy go b
Page 63 and 64: Fig.79-80 These sections cut throug
Page 65:
Fig.82 Final Model of the Apartment
Page 68:
FINAL EXHIBITION Fig.87
Page 76 and 77:
CONCLUSION The influence of Rumi’
Page 78 and 79:
Marks, L. U. (2006). Taking a line
Page 80 and 81:
Fig 17. Islamic calligraphy in anim
Page 82 and 83:
Fig 58. Shaghayegh Ganjali, (July,
Page 84:
Fig 83. Shaghayegh Ganjali, (Septem
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