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

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INTRODUCTION “Your love lifts my soul from the body to the sky and you lift me up out of the two worlds. I want your sun to reach my raindrops, So your heat can raise my soul upward like a cloud.” Rumi (Shiva, 2000) Fig.2 This exegesis contextualises my project philosophically, culturally, historically, and theoretically. In order to discuss these aspects, I have divided my exegesis into three main sections. The first section, Ecstatic Bodies; Ecstatic Architecture emphasises the unexpected link between body and architecture (space) through a feeling of ecstasy. It presents the spatial affiliation between ecstatic bodies and ecstatic architecture. The key to this exploration is the investigation into ecstatic, weightless and fluid space. In this section I examine the expression of movement in architecture; concepts of balance and imbalance; and a sense of stasis, repetition and flow that can finally allow a space to express movement and ecstasy. 4
The second section, Islamic Calligraphy and Performative Gesture and Movement, outlines the relationships between the flow and movement in Islamic calligraphy and movement in body gestures. It discusses Islamic calligraphy and how it was used to replace figurative painting and sculpting of human and animal subjects. These art forms were considered idolatry and as worshipping something other than God is forbidden in Islam, it was prohibited. Islamic calligraphers translate the movement visible in the human body into the lines of script; in other words, body movements are injected into the words and letters. The connection between Islamic calligraphy and body gestures, especially in Islamic rituals such as Sema dance and Islamic prayer, are discussed in this section. This section also demonstrates the importance of Islamic calligraphy in Islamic architecture and how the calligraphy was used to give a more spiritual and mystical feel to Islamic architecture. Fig.3 5
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: ABSTRACT “How colourless and form
Page 11 and 12: This exegesis also represents the p
Page 13 and 14: Architecture has the potential to b
Page 15 and 16: Through one of my experiments of ta
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
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In an earlier experiment, the baske
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COLOURS Colours in calligraphy go b
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Fig.79-80 These sections cut throug
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Fig.82 Final Model of the Apartment
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FINAL EXHIBITION Fig.87
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CONCLUSION The influence of Rumi’
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Marks, L. U. (2006). Taking a line
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Fig 17. Islamic calligraphy in anim
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Fig 58. Shaghayegh Ganjali, (July,
Page 84:
Fig 83. Shaghayegh Ganjali, (Septem
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