In this essay, I would examine two samples of heritage architecture to draw out their “symbolism” with events in the past. The aim is to understand how these architectural premises responded to historical moments, and whether a paradigm for current practice can be developed.
If one were to compare contemporary urban architecture in Australia with these past heritage buildings, the physical and historical distance would be significant. As will be shown in this essay, the sample buildings were built in a neo-classical way to suggest the relevance of those times whereas most contemporary urban architecture reflects functional usage of buildings, not any “elitist” purpose (Unwin, 2009, p.45).
Symbolism has played a vital role in the identification of buildings, in the past as well as the present. Within a shared cultural language of symbolism, the appearance of these houses reflect the expectations of the people in the past about ‘what’ a house should look like (Urwin, 2009, p.2). Such structures have evolved from a deep, subconscious need in their psyche to express meanings, allusions, metaphors and tell stories (Urwin, 2006, p.2). The desire for showcasing “change” was no less substantial with pre-modern architects as is the case with most post-modern architects who want to leave behind their mark with astounding creations such as skyscrapers or other impressive concrete buildings.
The symbolic dimension of architecture is a powerful one. Individuals, organizations, governments, clubs and other affiliations take great pride in showcasing what their buildings say about them. Built in the 1880’s, the Eiffel Tower became the symbol of Paris and in the 1990’s, the Spanish city of Bilbao became a centre of attraction because of the Guggenheim Museum (Unwin, 2006, p.14).
Cathedral of Jesus’ Heart in Sarajevo, Bosnia (1889)
One of the most copious literature sources on Symbolic architecture in Europe is E.P.Evans’ Animal Symbolism in Ecclesiastical Architecture. Dismissing the inaccurate assumption that ancient Orthodox churches were resistant to pagan symbolism, Evans has marvelled on the brilliant iconography of birds and animals visible in European churches (Evans, 2003, p.1). The author has heaped lavish praise on the ‘neo-classical-era’ cathedral buildings which have left behind a rich legacy for future times. One of these samples is discussed below.
The cathedral of Jesus’ Heart was built in Sarajevo, Bosnia in 1889 at a time when the country had been barely brought under the rule of Austria-Hungary empire, after centuries of subjugation under the medieval Ottoman Empire. The aim behind constructing this building was to publicise the region’s new-found faith in Christianity, and almost preach it from the pulpit in a literal sense (Evans, 2003, p.112). The church was constructed in the neo-Gothic style with elements of Romanesque architecture, both of which are replete with allegorical metaphors and other symbolic associations. The most prominent symbolism in the church was based on the extensive use of animals and birds in murals, columns, arches and vaults and other walls. The cathedral also has a hint of Byzantine legacy with extensive motifs in the arabesque style, an idea which has thrived to this day with contemporary architects often using a fusion when embellishing a building’s interiors, especially hotels, resorts and modern monuments.
The use of lions in pillars and columns symbolised Resurrection as well as a type of Satan (Webber & Cram, 2003, p.112). Dogs were used to conceive a literal canine metaphor common to the Balkans region in the 19th century. The lizard and snake/python became depictions of the Garden of Eden and how the first human beings, Adam and Eve, fell out of favour with God because of their transgressions. The Unicorn was used to symbolise Christ’s reincarnation since the creature is a mythical one, and is believed to be untainted by Sin (Webber & Cram, 2003, p.112). The cathedral walls also have an auricular description of Christ as the Logos – partly due to the anti-toxic nature of the Unicorn’s horn (Webber & Cram, 2003, p.112). Furthermore, the Eagle was used as a symbol of spiritual aspiration and baptismal regeneration (Webber & Cram, 2003, p.112). The elephant became the symbol of perpetuity due to its fabled attributes.
In addition, one can also find fishes, phoenixes, whales and dolphins in the church interiors. This can be partly attributed to the fact that back in the late 1880’s, Sarajevo was a thriving merchant centre and was regularly frequented by sea-faring merchants from all of South-eastern Europe (Webber & Cram, 2003, p.112). Some of them even financed the building of the cathedral. Clearly, the building was conceived as an important landmark for the great business acumen of the merchants, apart from its value as a cherished heritage structure of the future.
The imagery of lions howling over their whelps, common to other Catholic churches such as the Cathedral of Lyons, has also been captured in the Cathedral of Jesus Heart (Evans, 2003, p.112).. As one travels deep into the interior section of the building, it is possible to come across a series of allegories representing Biblical and other mythical (including pagan) subjects. A phoenix in the flames, Nineveh, the brazen serpent, a pelican piercing her breast and feeding the blood to her young (depiction of sacrifice as per Christian tenements), an eagle taking her eaglets from the nest to make them look at the Sun (much like Christ showing the divine light to his followers), a unicorn with his head in the lap of a virgin while a man is thrusting a spear into his side, and a rhinocerous with two young ones playing in the background, depicting the beauty of an idyllic paradise situation (Evans, 2003, p.112). Indeed, since, several parts of the church are replete with animal Symbolism, the allegorical part is hard to miss.
Brambuk Living Cultural Centre, Australia
After describing detailed Symbolism for a famous church in Europe, it is important to verify how a similar manner of Symbolism would work for Australia. The Brambuk Living Cultural Centre is one of the most excellent examples of fusion architecture in Australia since it combines the cultural heritage of the Aboriginal community with modern-day aesthetics sensibilities. Many rudiments of Aboriginal culture can be viewed in the museum. In keeping with Aboriginal sensibilities, the entire building is constructed of timber since it was one of the most common fabrication materials for the Djab Wurrung and Jardwadjali people of the region. The region itself is at the heart of Aboriginal cultures, so their traditions had to be kept alive during construction of the site.
The building’s architecture symbolises the core tenets of Aboriginal culture in its wall drawings (hieroglyphics), presence of stone fireplaces and garden settings (Brambuk Living Cultural Centre Portal, 2010). The idea was to recreate the exact living environment available for indigenous Australians living in the late 19th and early 20th centuries. Since, the region was associated with Aboriginal spiritual symbols, they had to be kept intact for any faithful reproduction (Brambuk Living Cultural Centre Portal, 2010) of the original.
Although fairly modern in outward appearance, Brambuk’s ambience design showcases the true heritage of Aboriginal peoples’ in its depiction of various facets of indigenous life. A salient feature of indigenous Australian architecture lies in the prevalence of round-shaped dome structures throughout the continent. Domes were primarily used to offer shelter from heat and rain, as well as wild animals such as dingkos (Australian Government Culture Portal, 2010). Similarly, domes have been recreated in Brambuk.
Another design parameter in Brambuk which stands out from the rest is the depiction of classificatory relationships between various family members and the strict segregation in roles observed between men, women and children. A separate “single men’s camp” is commonly visible throughout Aboriginal camps which symbolises that these individuals were not permitted to mix with members in family dwellings, thus, laying a clear emphasis on the cohabitation needs to the household.
Adultery was not permissible in Aboriginal society and highly frowned upon, as can be seen in the separate “sleeping places” within the recreated family dwelling unit. Such a complex set of spatial rules allowed Aboriginal communities to observe ceremonial rules, marriages, funerals and more (Memmot, 2007, p.40). In addition, the Brambuk’s recreations also symbolise the dweller’s relationship with various flora and fauna to which they were exposed to. The depiction of kangaroo bones in the dwelling unit is a case in point. Indeed, Aboriginal settlers were accurate observers of their living environments, an aspect that has left behind a rich legacy of drawings that allow us to capture a glimpse of what life was in the past (Reed, 2000, p.120).
Other complex depictions of Aboriginal society, as uncovered from the Brambuk reproductions of their heritage, include socio-cultural relationships that describe the typical ambience in the family dwelling unit. Brothers often spoke to each other with reserve, and faces turned away which was the reason for the inclusion of sharp corners in the dwelling units (Reed, 2000, p.81). There had to be a complete avoidance of conversation between a man and his wife’s mother for which their sleeping areas would be set poles apart (Memmot, 2007, p.34). Since, most Aboriginal behavioural practices revolved arose from the respect between two individuals who had a junior and a senior status, the best way to arrange for such a facility was through the design and construction of their living space.
Summary
In summary, let us examine whether the symbolism in indigenous Australian architecture, as described in the two samples used in the essay, have any specific relevance to contemporary urban architecture in Australia. It has been repeatedly suggested that no building is complete without some sort of symbolism, and post-modern architects often tell the same story as the past samples have shown.
The cathedral architecture from Bosnia contains animal allegories which are quite relevant in today’s times as well. Most hotels and recreational joints extensively employ animals and birds to portray a story which would go on to reflect the owner’s sensibilities. As far as Brambuk is concerned, if one were to draw exclusive lessons from Aboriginal architecture used in this sample, we could still design military camps and schooling units were role-based segregation is desired.
Compared to depictions in Brambuk, no segregation trend exists in modern living areas. However, many urban families still have residential classification based on the status of the family member; e.g. children are expected to sleep in a separate zone from a couple consisting of a husband and his wife. Older people (the in-laws) are also assigned separate bedrooms. Wealthy families have separate living zones for domestic helps.
References
Australian Government Culture Portal. 2010. Australian Indigineous Architecture. Web.
Brambuk Living Cultural Centre Portal. 2010. Architectural Design. Web.
Evans, E., 2003. Animal Symbolism in Ecclesiastical Architecture. 1st ed. Cleveland, OH: Kessinger Publishing.
Reed, P., 2000. Settlement: A History of Australian Indigenous Housing. 1st ed. Canberra, ACT: Aboriginal Studies Press.
Unwin, S., 2009. Analysing Architecture. 3rd ed. Oxon, UK: Routledge.
Webber, F.R. & Cram, R.A., 2003. Church Symbolism. 1st ed. Cleveland, OH: Kessinger Publishing.