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CHIEF-EDITORS
Mário S. Ming KONG
Maria do Rosário MONTEIRO
CO-EDITOR
Maria João Pereira NETO
ARCHITECTURE - URBANISM - DESIGN
ARTS
HUMANITIES
SOCIAL SCIENCES
SCIENCES/TECHNOLOGY
INTELLIGENCE, CREATIVITY
AND FANTASY
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Table of Content
Editorial Foreword
Preface
Mário S. Ming KONG
Committees
Sponsors
PART I – INTELLIGENCE, CREATIVITY AND FANTASY
The Creativity Code
Marcus du SAUTOY
The intelligence of fiction
Francoise LAVOCAT
The Presence of Metaphysical Symbolism in Architectural Formation of Armenia Early and
Medieval Spiritual Sites
Armen SHATVORYAN
Fantasies of Space and Time
Dimitra FIMI
Traces of a Recreated Reality: Rafael Bordalo Pinheiro’s busts of Pai Paulino
Maria do Rosário PIMENTEL
Political Fiction or the Art of the Deal
Rui ZINK
PART II – ARCHITECTURE / URBANISM / DESIGN
“Trough the Rabbit Hole”: Intelligence Creativity and Fantasy in the Architecture
Mário Say Ming KONG
Creativity and beauty in art and science today: a basis for discussion of a possible future
architecture
Clara Germana GONÇALVES
Notes on Illusion: Ideation as an instrument for a spatial intelligence of architecture
Francisco OLIVEIRA
‘The open work’: Inter-relations between Science and Art
Ana Marta FELICIANO
UOVO-EGG-OEUF-OVO: From the origins of the world to a creative objective
Raffaella MADDALUNO
Towards a Meta-Baroque: Imagining a “Fantastic Reality”
Maria João SOARES
Stolen characters against an enclosure of the Imagination
Daniel JESUS
Developing Creative Approaches in Architectural Education
Irina TARASOVA
Fantasy and Creativity of the Azuchi-Momoyama Period Japanese Tea Architecture
Adriana Piccinini HIGASHINO
From Fantasy to Experimentation: The one-to-one scale in Architecture Exhibitions
Ana NEIVA
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Eneida KUCHPIL; Andrezza PIMENTEL DOS SANTOS
Fictional movement on the NY’s Guggenheim ramp
Soledade PAIVA DE SOUSA; Miguel BAPTISTA-BASTOS
Gottfried Böhm’s creativity: architecture as a sculpture made of concrete
Aleksander SERAFIN
Intelligence, Creativity and Fantasy in Bernard Tschumi’s Glass Video Gallery: In-Between
Translucency, Transgression and Interaction
Ana VASCONCELOS
From the intensity to the essence: Fantasy and architectural creativity between the
Neorealism and the Third Modernism in Portugal
Miguel BAPTISTA-BASTOS; Soledade PAIVA DE SOUSA
Paper as a flexible alternative applied to the Dom-Ino System from Le Corbusier to Shigeru
Ban
Alex NOGUEIRA; Mário S. Ming KONG
The internationalisation of Álvaro Siza and the myth of the traditional and conservative
architect
Jorge NUNES
The Fantasy of Reality: On the design drawings of Álvaro Siza Vieira
João Miguel Couto DUARTE
The "good taste": when patterns restrict creativity
Gisele Melo de, CARVALHO
Creativity and pragmatism: a practical example of a project
Caio R. CASTRO; Mário S. Ming KONG
Towards a more intelligent dwelling: the quest for versatility in the design of the
contemporary home
Hugo L. FARIAS
The house as a mirror and support of identity: reflections for a more conscious and
subjective inhabiting.
António SANTOS LEITE
Architecture Stories in the Construction of a Children's Spatial Conscience
Margarida LOURO
From fantasy to reality: adaptive reuse for flour mills in Venice
Sheila PALOMARES ALARCÓN
The ruined fantasies of intelligent minds: ‘the Nobel’s town’ and neglected Swedish heritage
in St. Petersburg
Irina SEITS
World-in-spheres: a cartographic expedition through the spherical world of Peter Sloterdijk
Francisco Henrique BRUM DE ALMEIDA; Gabriel Henrique ROSA QUERNE; Lucas de Mello
REITZ
From international context to Portuguese urban planning: creativity on mechanical
aesthetics in Planos Gerais de Urbanização
José CABRAL DIAS
“Fantastic” colonial cities: Portuguese colonial utopia
Alexandre RAMOS
Fantasy and Reality Belong Together: Multidimensional thinking to innovate the creative
process
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Creativity and intelligent research in design: the use of quasi-experience
Fernando MOREIRA DA SILVA
Sustainability through Design Creativity
Ana MOREIRA DA SILVA
Design skills and craftwork culture in scenic design for theatre
Liliana SOARES; Rita Assoreira ALMENDRA; Ermanno APARO; Fernando MOREIRA DA SILVA
Foot haptic perception in Hospital wayfinding
Miguel de Aboim BORGES
Methodology for Colour Planning in Urban Furniture: Laje, a case study
Margarida GAMITO; Joana SOUSA
Fashion Design and Productive Thinking: pragmatic approaches to creativity
Leonor FERRÃO; Graziela SOUSA
PART III – ARTS
Fantasy, Creativity and Proportions: Spiral Representations in Culture and Art
Teresa LOUSA; José MIKOSZ
The Creative Daemon (δαίμων) and the Hyper-Intellection of Art
João PEREIRA DE MATOS
The creation through listening: expression, intelligence, inspiration and wisdom
Sara Chang YAN; Ana Leonor Madeira RODRIGUES
Art and Mind Set: neuroscience and education in the Life Project
Cinzia ACCETTA
The Creativity of Artistic Appropriation and the Copyright
Gizela HORVÁTH
Creativity through destruction in the genesis of artist’s books.
António CANAU
Aldo Rossi's Teatrino
Fernando j. RIBEIRO
The torrent of Art, the rooms of Art: The Fiumara d’Arte and Atelier sul Mare in Sicily
Santi CENTINEO
Considerations on the colours of Pompeii walls
Maria João DURÃO
Pictorial (Re-) Creations: From the fourth Centenary of India (1898) to Expo’98.
Maria João CASTRO
Creativity and the observer
Ana Leonor M. Madeira RODRIGUES
Drawing in architecture: Exercising the creativity of thinking architectural space
Artur Renato ORTEGA; Silvana WEIHERMANN
PART IV – HUMANITIES
The Love of the One for the Many and the Many for the One
David SWARTZ
A Mesopotamian notion of intelligence and creativity: the ingenious nature of Enki/Ea
Isabel Gomes de ALMEIDA
The Legend of Sardanapalus: From ancient Assyria to European stages and screens
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Fantasy, Cryptozoology and/or Reality: Interconnected stories of mythological creatures and
marine mammals
Cristina BRITO
To ponder the pathology of power in the early modern Era: creativity and intelligence in the
political theory and practice reflected in emblems and iconological programs
Maria Leonor García da CRUZ
From the ineptitude to a higher capability: the Jesuits and the formation of a Christian
community in Brazil and Japan (16th-century)
Mariana A. BOSCARIOL
Creativity in the 16th-century representation of King Sebastião’s in the Battle of
Ksar-el-Kebir
Ana Paula AVELAR
Intelligence and Creativity at the service of the Society of Jesus in 16thcentury Japan: the
contribution of Father Luís Fróis
Helena RESENDE
A Science of the Probable: epistemological inventiveness according to Diderot
Luís Manuel A. V. BERNARDO
The Gaze of Death or Modern Adventures of the Imagination in Three Acts
Szymon WRÓBEL
The Railways of The Begum’s Fortune by Jules Verne and André Laurie
Fernanda de Lima LOURENCETTI
On Hesse’s Der Steppenwolf: how creatively actual a modern literary artwork can lively be?
Fernando RIBEIRO
Creativity in H.G. Wells: imagining the role of miracles in a secular society
Leonor SAMPAIO DA SILVA
On Stories; Tolkien and narrative theory
Maria do Rosário MONTEIRO
Victorious Nature in Anglo-Saxon England and Fantasy Middle-earth.
Andoni COSSÍO
Tree and Forest Models in Victorian/Edwardian Fantasy: MacDonald, Morris and Grahame
as Triggers of J. R. R. Tolkien’s Creativity
Andoni COSSÍO
From Tolkien’s British Middle-earth to King’s American West Mid-World
Raúl MONTERO GILETE
The Final Frontier: Fictional Explorations of the Borders of Nature and Fantasy in Early
Twentieth-Century Imaginative Literature
Martin SIMONSON
The Cure for Death: Fantasies of Longevity and Immortality in Speculative Fiction
Teresa BOTELHO
Upgraded Fantasy: Recreating SF Film
Iuliana BORBELY
Healing through Storytelling: Myth and Fantasy in Tomm Moore’s Song of the Sea
Angélica VARANDAS
Between Reality and Fantasy: A Reading of Katherine Vaz’ “My Hunt for King Sebastião”
Mário AVELAR
Intelligence, Creativity and Fantasy in Baltasar and Blimunda, by José Saramago
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Intelligence for Obedience and Creativity for Subversion: Reading António Ladeira’s Os
Monociclistas (2018) and Seis Drones (2018)
Margarida RENDEIRO
Literary creativity and political debate. The case of African journals Mensagem and Notícias
do Imbondeiro
Noemi ALFIERI
Creativity and Innovation in Cante from the Estado Novo to the present
Eduardo M. RAPOSO
From rap to literature: creativity as a strategy of resistance in Portugal through the works by
Telma Tvon
Federica LUPATI
PART V – SOCIAL SCIENCES
Creativity, Utopia and Eternity at the Francke Foundations in Halle: Art between image
politics and cultural memory
Kim GROOP
Harriet Martineau, John H. Bridges, and the sociological imagination
Matthew WILSON
Form and function regulating creativity and facilitating imagination: Literary excursions in
the diary of my great-grandfather
Jakob DAHLBACKA
Translanguaging as a Creative and Enriching Practice
Renata SEREDYNSKA-ABOU EID
PART VI – SCIENCES/TECHNOLOGIES
Intelligence, innovation, fantasy and heart: the Portuguese engineers of the nineteenth and
early twentieth centuries
Ana CARDOSO de MATOS
The introduction of new construction materials and the teaching of engineering based on
technical intelligence: the role of Antão Almeida Garrett
Maria da Luz SAMPAIO
The relationship between typography, designers and users to build a creative experience in
the digital culture
Eduardo NAPOLEÃO; Gilson BRAVIANO; Pedro Manuel Reis AMADO; Maria José BALDESSAR
The fantasy of the natural/cultural elements as symbolic tourist attractions through senses
and technology
Ana PEREIRA NETO
Remediation and metaphor: gamifying teaching programming
Desirée MAESTRI; Luciane Maria FADEL
Pokémon Go: The Embedded Fantasy
Gustavo Henrique Campos de FARIA; Luciane Maria FADEL; Carlos Eduardo Verzola VAZ
Crowdsourcing: an intelligent and creative way for information access
Leonor Calvão BORGES; Ana Margarida Dias da SILVA
Comparative analysis of the luminous performance of fenestration with Japanese paper and
glazing with a polymeric film in meditation rooms
Mário Bruno CRUZ; Júlia PEREIRA; Maria da Glória GOMES; Mário S. Ming KONG
The Magic Touch of Creative Fantasy: turning C.G. Animation into Telling Movies
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PART VI – EXHIBITIONS
Drawings & Paintings: “Pompeii colours and materials”
Maria João DURÃO
Literature and Video: “Borderlands”
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ORGANIZING COMMITTEE
CHIEF-EDITORS MÁRIO S. MING KONG
Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa, Portugal/CHAM, FCSH, Universidade NOVA de Lisboa, Portugal
MARIA DO ROSÁRIO MONTEIRO
Senior Researcher, CHAM, FCSH, Universidade NOVA de Lisboa
CO-EDITOR MARIA JOÃO PEREIRA NETO
Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa, Portugal/CHAM, FCSH, Universidade NOVA de Lisboa, Portugal
SCIENTIFIC COMMITTEE AND PEER REVIEWERS
ALEKSANDER OLSZEWSKI Faculty of Art, Kazimierz Pułaski University of Technology and Humanities, Radom, Poland
AMÍLCAR MANUEL MARREIROS DUARTE
Universidade do Algarve, Faculdade de Ciências e Tecnologia, Departamento de Ciências Biológicas e Bioengenharia ORCID: 0000-0002-2763-1916
ANA CRISTINA GIL Dean FCSH, Universidade dos Açores, Senior Researcher Universidade dos Açores, CHAM.
ORCID: 0000-0001-5656-9798
ANA CARDOSO DE MATOS Member of Research Centre CIDEHUS/UE) and Professor at the Évora University, Department of History
ORCID: 0000-0002-4318-5776
ANA CRISTINA GUERREIRO Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa
ORCID: 0000-0001-5112-5979
ANA ISABEL BUESCU Senior Researcher, CHAM, Departamento de História, FCSH, Universidade NOVA de Lisboa.
ORCID: 0000-0002-5938-8463
ANA MARIA MARTINHO GALE Senior Researcher, CHAM, FCSH, Universidade NOVA de Lisboa. ORCID: 0000-0002-3690-8729
ANA MARTA FELICIANO Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa
ORCID: 0000-0002-3251-3973
ANNALISA DI ROMA Associate Professor in Industrial Design, Polytechnic University of Bari
ORCID: 0000-0003-4807-1433
ANDREIA GARCIA Professora auxiliar convidada no Curso de Arquitectura da Universidade da Beira Interior
ORCID: /0000-0002-0735-1490
ANDRZEJ MARKIEWICZ Kazimierza Pulaski University of Technology and Humanities in Radom
ANTÓNIO LEITE Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa
ORCID: 0000-0003-2529-5362
ARMEN SHATVORYAN Deputy Dean of the National University of Architecture & Construction of Armenia (NUACA), Armenia
BARBARA VAZ MASSAPINA Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa
ORCID: 0000-0003-3665-3495
CALOGERO MONTALBANO Professor at the Polytechnic of Bari in Architectural and Urban Design
ORCID: 0000-0001-8969-0236
CARLA ALFERES PINTO Senior Researcher, CHAM, FCSH, Universidade NOVA de Lisboa. ORCID: 0000-0001-9055-9630
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CARLA CHIARANTONI Professor in Architectural Design at the School of Building Architecture of the Polytechnic of Bari
ORCID: 0000-0001-9907-8550
CARLOS MANUEL ALMEIDA FIGUEIREDO
Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa
ORCID: 0000-0002-1107-4211
CLARA GONÇALVES CITAD, Universidade Lusíada de Lisboa, Portugal / ISMAT, Portugal
ORCID: 0000-0002-1236-5803
DAVID SWARTZ Originally from Toronto, Canada, David has resided in Lisbon, Portugal since 2013, where he teaches English at the New University of Lisbon (NOVA).
ORCID: 0000-0001-7952-4795
DIMITRA FIMI University of Glasgow: Glasgow, Glasgow ORCID: 0000-0002-5018-3074
FÁTIMA VIEIRA Senior Researcher, CETAPS, Faculdade de Letras da Universidade do Porto
ORCID: 0000-0002-2733-1243
FRANCOISE LAVOCAT Senior Researcher, SFLGC, Professor of Comparative Literature, Sorbonne Nouvelle University.
ORCID: 0000-0003-3423-3331
FERNANDO MOREIRA DA SILVA Senior Researcher, Director of CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa
ORCID:0000-0002-5972-7787
FILIPA FERNANDES Instituto Superior de Ciências Sociais e Políticas (ISCSP/ULisboa)
ORCID: 0000-0002-0880-4770
FRANCISCO CARAMELO FCSH Dean, Senior Researcher, CHAM, FCSH, Universidade NOVA de Lisboa
ORCID: 0000-0001-5865-1699
FRANCISCO OLIVEIRA Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0003-0089-3112
GIANNI MONTAGNA Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0002-5843-2047
GISELA HORVATH Faculty of Arts and Humanities, Partium Christian University, Oradea, Romania
ORCID: 0000-0002-7254-3704
HERVÉ BAUDRY Senior Researcher, CHAM, FCSH, Universidade NOVA de Lisboa. ORCID: 0000-0001-9102-913X
JOÃO CABRAL Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0002-9711-8560
JOÃO PAULO OLIVEIRA E COSTA Senior Researcher, President Centre of CHAM, FCSH, Universidade NOVA de Lisboa.
ORCID: 0000-0002-7404-0772
JOÃO SEIXAS Physics Department of Instituto Superior Técnico (Lisbon, Portugal) / Member of Laboratório de Instrumentação e Física Experimental de Partículas (LIP) / Member of Centro de Física Teórica de Partículas (CFTP) / Member of CMS Collaboration ORCID: 0000-0002-7531-0842
JORGE DE NOVAES BASTOS Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
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JORGE TAVARES RIBEIRO Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0002-9609-339X
JOSÉ CABRAL DIAS Faculty of Architecture of University of Porto, Porto, Portugal. ORCID: 0000-0002-8472-5062
IULIANNA BORBÉLY Faculty of Arts and Humanities, Partium Christian University, Oradea, Romania
ORCID: 0000-0002-7753-1374
JORGE FIRMINO NUNES Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0002-1340-6080
JULIAN SOBRINO SIMAL Professor Titular de Universidad Universidad de Sevilla (Escuela Técnica Superior de Arquitectura)
ORCID: 0000-0003-4458-4119
LUÍS CRESPO ANDRADE Senior Researcher, CHAM, FCSH, Universidade NOVA de Lisboa. ORCID: 0000-0002-6792-8124
LUIS MANUEL A. V. BERNARDO Senior Researcher, CHAM, FCSH, Universidade NOVA de Lisboa. ORCID: 0000-0002-3587-7799
ŁUKASZ RUDECKI Faculty of Arts - Kazimierz Pulaski University of Technology and Humanities in Radom
MANUELA CRISTINA PAULO CARVALHO DE ALMEIDA FIGUEIREDO
Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0001-5956-9996
MANUELA CRISTÓVÃO Visual Arts and Design Department at School of Arts in Évora University
ORCID: 0000-0002-9791-2895
MARCO NEVES Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0002-6311-8909
MARCUS DU SAUTOY Charles Simonyi Professor for the Public Understanding of Science, Oxford University
MARGARIDA VAZ DO REGO MACHADO
Universidade dos Açores, CHAM e FCSH ORCID: 0000-0001-9027-1856
MARIA ANGÉLICA SOUSA OLIVEIRA VARANDAS AZEVEDO CANSADO
Department of English Studies, School of Arts and Humanities, University of Lisbon / ULICES (University of Lisbon Center for English Studies)
ORCID: 0000-0002-6647-3359
MARIA DE FÁTIMA NUNES President of the Advanced Research Scientific Board (IIFA) – Évora University. Full Professor and Teacher of History, History of Culture and History, Science.
ORCID: 0000-0002-0578-8728
MARIA DA GRAÇA MOREIRA Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0001-9501-877X
MARIA DA GLÓRIA GOMES Engenharia, CERIS, DECivil, Instituto Superior Técnico, Universidade de Lisboa, Lisbon, Portugal
ORCID: 0000-0003-1499-1370
MARGARIDA MARIA GARCIA LOURO
Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa.
ORCID: 0000-0003-2487-539X
MARIA MARGARIDA RENDEIRO Senior Researcher, CHAM, FCSH, Universidade NOVA de Lisboa ORCID: 0000-0002-8607-3256
MARIA JOÃO DURÃO Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa./ Laboratório da Cor/ColourLab FAUL Coordinator
ORCID: 0000-0002-3125-4893
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Universidade de Lisboa, Lisboa / CHAM, FCSH, Universidade NOVA de Lisboa
ORCID: 0000-0003-0489-3144
MARIA DA LUZ SAMPAIO Research Member of CIDEHUS – PhD in History of Science specialisations in Museology in University of Évora
ORCID: 0000-0002-9231-4757
MARIA LEONOR GARCIA DA CRUZ
Professor and Researcher at the Faculty of Arts and Humanities of the University of Lisbon
ORCID: 0000-0002-8989-4527
MARIA LEONOR SAMPAIO DA SILVA
Senior Researcher, Universidade dos Açores, CHAM e FCSH ORCID 0000-0002-4241-272X
MARIA DO ROSÁRIO MONTEIRO Senior Researcher. Coordinator of the Research Group Culture and Literature, CHAM, FCSH, Universidade NOVA de Lisboa ORCID: 0000-0001-6214-5975
MARIA DO ROSÁRIO PIMENTEL Researcher, CHAM, FCSH, Universidade NOVA de Lisboa ORCID: 0000-0001-7737-6952
MÁRIO ALBINO PIO CACHÃO Faculty of Sciences, University of Lisbon
MÁRIO SAY MING KONG Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa, Portugal / CHAM, FCSH, Universidade NOVA de Lisboa
ORCID: 0000-0002-4236-2240
MARTIN SIMONSON University of the Basque Country - UPV/EHU ORCID: 0000-0003-3576-4636
MIGUEL DE ABOIM BORGES CIAUD - Research Centre for Architecture, Urbanism and Design – Faculty of Architecture, University of Lisbon
OLINDA KLEIMAN Full Professor at Sorbonne Nouvelle – Paris 3. Director of CREPAL ORCID: 0000-0002-0714-8601
PAULA REAES PINTO Full member of the CHAIA research centre of the University of Évora and member of the CIAUD research centre. Assistant Professor in the Arts and Design Department of University of Évora
ORCID: 0000-0003-1857-9797
PAULO PEREIRA Senior Researcher, Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa ORCID: 0000-0002-9480-6376
PEDRO CORTESÃO MONTEIRO Senior Researcher, Senior Researcher, CIAUD – FAUL, Lisbon School of Architecture, Universidade de Lisboa, Lisboa ORCID: 0000-0002-3183-7810
RAÚL MONTERO GILETE UPV/EHU (University of the Basque Country ORCID: 0000-0002-2008-0963
REGINA APARECIDA SANCHEZ Associate professor at the School of Arts, Sciences and Humanities at the University of São Paulo. Researcher, CIAUD - Research Centre for Architecture, Urbanism and Design – Faculty of Architecture, University of Lisbon
RUI ZINK Senior Researcher, Instituto de Estudos de Literatura e Tradição (IELT), FCSH, Universidade NOVA de Lisboa
SANTI CENTINEO Polytechnic University of Bari ORCID: 000-0002-1365-982X
SÓNIA FRIAS Instituto Superior de Ciências Sociais e Políticas (ISCSP/ULisboa). Investigadora no Centro de Estudos sobre África, Ásia e América Latina, do Instituto Superior de Economia e Gestão (CEsA-ISEG/ULisboa). Presidente da Comissão Africana da Sociedade de Geografia de Lisboa.
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TERESA BOTELHO Researcher, CETAPS, DLCLM, FCSH, Universidade NOVA de Lisboa, Universidade do Porto
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Peer Review
Scholars have been invited, through an international CFP, to submit full chapters on theoretical and methodological aspects related to the theme “INTELLIGENCE, CREATIVITY AND FANTASY” in the scientific fields of Architecture, Arts and Humanities, Design, Engineering, Social and Natural Sciences. The selected chapters were then publically presented on the Congress “INTELLIGENCE, CREATIVITY AND FANTASY” thus fostering a multidisciplinary discussion.
All full chapters proposals were subjected to double-blind peer review, distributed according to each scientific area to senior researchers for evaluation. Members of the scientific committee also peer-reviewed papers within their field of expertise. The theme had been proposed to the international academic community in October 2019, during PHI Congress in Maison de la Recherche, Sorbonne Nouvelle, University, Paris. This book is the outcome of the production, revision, lengthy selection and evaluation process that lasted 12 months.
Book production report:
More than one hundred full papers were submitted. After the selection, the Reader will find in this book chapters written by authors (senior researchers and post-graduation students) from Armenia, Brazil; Canada; Finland; France, Italy, Japan, Romania, Poland, Portugal, Russia, Spain, Sweden, United Kingdom, USA.
SPONSORS
RIGHT SIDE BOTTOM PAGE
This event and this book had the support of CHAM (NOVA FCSH—UAc), through the
strategic project sponsored by FCT (UID/HIS/04666/2019).
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Editorial Forward
CHIEF-EDITORS, PHI 2019 Congress Organising
Chairpersons
Mário S. Ming KONG
(Professor/ Senior Researcher, CIAUD- FA ULisboa/ CHAM, FCSH, Universidade NOVA de Lisboa)
Maria do Rosário MONTEIRO
(Professor/ Researcher CHAM, FCSH, Universidade NOVA de Lisboa)
Co-Editor, PHI 2019 Congress Co-Organising
Chairperson
Maria João Pereira NETO
(Professor/Senior Researcher, CIAUD- FA ULisboa/ CHAM, FCSH, Universidade NOVA de Lisboa)
It is our pleasure to present the fourth volume of Proportion, Harmony, and Identities (PHI). It is the theoretical basis for the fourth INTERNATIONAL MULTIDISCIPLINARY CONGRESS PHI 2019, held in the University of the Maison de la Recherche, Sorbonne Nouvelle University, Paris, on October 7th to 9th, 2019.
The Congress was designed as a platform for researchers, academics and students to present, share and exchange ideas, visions of the past and the future and research results applicable to Architecture, Urban Planning, Design, Arts, Humanities, Social Sciences, Sciences and Technology, among others, on the importance of harmony and proportion as subjects that define, differentiate and unite identities. This year’s Book and Congress are dedicated to the theme INTELLIGENCE, CREATIVITY AND FANTASY. We received one hundred forty-six papers from sixteen countries and after an intense process of scrutiny through rigorous double-blind peer review method, and a linguistic review, Ninety-three papers were selected for presentation and publication as chapters of this volume. In this sense, this book represents the combined effort of scholars from Armenia, Brazil; Canada; Finland; France, Italy, Japan, Romania, Poland, Portugal, Russia, Spain, Sweden, United Kingdom and the United States of America.
We decided to organise the publication in seven major sections, each divided into chapters. The first, bearing the same title as the book itself, is formed by chapters that serve, in our opinion, as pertinent introductions to the diversity and complexity of themes involving Intelligence, Creativity and Fantasy in a multidisciplinary perspective. The first part includes texts written by our Keynote speakers on topics such as: the code of creativity; the intelligence of fiction; the presence of metaphysical symbolism in architectural formation of the early and medieval spiritual sites of Armenia; fantasies of space and time; Rafael
Bordalo Pinheiro´s bust of Pai Paulino; on political fiction or the art of the deal.
The second section approaches Intelligence, Creativity and Fantasy applied to Architecture, Urban Planning and Design, or putting it in a different formulation, this section deals with the city, and its evolution based on the concept of Intelligence, Creativity and Fantasy.
The third section assembles texts dealing with Intelligence, Creativity and Fantasy in the Arts, approaching different perspectives on their importance and influence on the development of Imagination, Fantasy, Creativity in arts.
The fourth section assembles chapters under the vast umbrella of Humanities: narratology, literature, cultural heritage, philosophy and history. The fifth section is dedicated to Social Sciences and the sixth section on themes related to Sciences and Technologies.
The final, seventh, section includes short articles destined to complement the two art exhibitions on display during the PHI 2019 Congress, namely “Pompeii colours and materials” - drawings and paintings by Maria João DURÃO, and “Borderlands” - photography, prose and video by Martin SIMONSON and Thomas ÖRN KARLSSON. Apart from our intervention in the organisation of the volume, all individual chapters are the sole responsibility of their respective authors. We thank all members of the scientific committee, partner universities, and their research centres, organising committee members, and especially all the participants for making this book and the Congress possible.
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Preface
Mário S. Ming KONG
PHI 2019 Congress Organizing Chairperson
Professor/ Senior Researcher, CIAUD- FA ULisboa/ CHAM, FCSH, Universidade NOVA de Lisboa
We are pleased to welcome you to the book Intelligence, Creativity and Fantasy (PHI 2019). It is the outcome of a Call for Full papers launch in October 2018, during the PHI 2018. The chapters included in this book were presented and discussed publicly during the 5th INTERNATIONAL MULTIDISCIPLINARY CONGRESS PHI held at Maison de la Recherche, Sorbonne University and Sorbonne Nouvelle University, Paris, from the 7th to the 9th of October 2019.
Proportion, Harmony and Identities (PHI) book series and congresses are annual international events for the presentation, interaction and dissemination of multidisciplinary researches related to the broad topic of Harmony, Proportion and Identity relevant to Architecture, Urban Planning, Design, Arts, Humanities, Social Sciences, Sciences and Technology.
Finally, we showcased this year, for the first time during a PHI Congress, two art exhibitions, complemented by short articles that were integrated into this year’s book.
It aims to foster the awareness and discussion on the importance of multidisciplinarity and its benefits for the community at large, crossing frontiers set by Western academic tradition, but that, according to the project organisers, prevent most of the times the communication of knowledge and the creation of bridges that may foster humanity’s evolution.
On behalf of the Editors and Organisers, it is my pleasure to mention the participation of experts from fifteen countries in the three days event. We have received research papers from distinguished academics and researchers from countries spreading over three continents. Thus, this event revealed itself as a platform for researchers of a wide variety of fields to discuss, share, and exchange experiences. The comprehensive content of the PHI project has attracted enormous attention, and the wealth of information spread out over this and previous PHI books, published by Taylor and Francis, are, from our point of view, extremely useful for professionals and students working in the related fields.
This publication, containing the full papers, documents and presentations publically presented during the Congress PHI 2019, is the result of the
creative work of their authors and a highly selective peer-review process.
I want to express my sincere thanks to all who have contributed to the success of PHI 2019.
The 5th International Multidisciplinary Congress PHI 2019: “Intelligence, Creativity and Fantasy” would not have been possible without the help of a group of people from the Lisbon School of Architecture, University of Lisbon, the Faculty of Social Sciences and Humanities (FCSH), Universidade NOVA de Lisboa, and the Sorbonne Nouvelle University, Paris. Researchers affiliated with the research centres from these universities – CIAUD, CHAM, Centre de Recherches sur les Pays Lusophones - Universidade de Sorbonne Nouvelle, Paris (CREPAL) and Centre de Recherches Interdisciplinaires sur les Mondes Ibériques Contemporains (CRIMIC) - Sorbonne University — selflessly and enthusiastically supported and helped us to overcome the logistic difficulties a preparation of such an event usually faces. I want to thank all authors of submitted papers for their participation. All contributed a great deal of effort and creativity to produce this work, and in my quality of organising chair, I am especially happy that they chose PHI 2019 as the place to present it. Credit also goes to all collaborators, in particular, to the Scientific Committee members and reviewers, who donated substantial time from their busy schedules to carefully read and conscientiously evaluate the submissions.
In the name of the Organising Committee, I would like to take this opportunity to extend our sincere gratitude to all subsidiary Organisations, for their support and encouragement and for making the event a success.
Special thanks go to all our speakers, authors, and delegates for making PHI 2019 a fruitful platform for sharing, learning, networking, and inspiration. We sincerely hope the academic community and the public, in general, find this publication enriching and thought-provoking.
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The Creativity Code
Marcus du SAUTOY
Public Understanding of Science and Professor of Mathematics at the University of Oxford
E-mail: dusautoy@maths.ox.ac.uk ORCID:
Abstract
Professor Marcus du Sautoy looks at the nature of creativity and asks how long it will be before
computers can compose a symphony, write a Nobel Prize-winning novel or paint a masterpiece.
And if so, would we be able to tell the difference? As humans, we have an extraordinary ability
to create works of art that elevate, expand and transform what it means to be alive. Yet in many
other areas, new developments in AI are shaking up the status quo, as we find out how many
of the tasks humans engage in can be done equally well, if not better, by machines. But can
machines be creative? Will they soon be able to learn from the art that moves us, and
understand what distinguishes it from the mundane? Du Sautoy asks how much of our
emotional response to a great work of art is down to our brains reacting to pattern and structure
and explores what it is to be creative in mathematics, art, language and music. Could machines
come up with something creative, and might that push us into being more imaginative in turn?
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The intelligence of fiction
Françoise LAVOCAT
SFLGC, Sorbonne Nouvelle University, Paris E-mail: francoise.lavocat@sorbonne-nouvelle.fr ORCID: 0000-0003-3423-3331
Abstract
Fiction has since long ago (at least since the year 1000, with the Tale of Genji), been accused of making people, and more particularly women, stupid. The most famous heroes characterised by their addiction to fiction (Don Quixote and Madame Bovary, or even the Cecilia of The Purple Rose of Cairo) are neither distinguished by their intelligence nor their ability to adapt to the world or their participation through work in society. In the past, fiction was also suspected of undermining women's chastity and morality; now, it i s accused of facilitating the passage of violent beings into action. Without dwelling too much on this endless and repetitive indictment, I would also like to point out the current contempt for fiction that accompanies what is called "the documentary turn". Several critics ridicule the clichés and the supposed exhaustion of fiction, and a prominent young French author, Edouard Louis, claims that he rejects it for political reasons. On the other hand, since the 1980s and the rise of fiction theories, the advantages of fiction have been constantly highlighted, mainly from an educational and therapeutic point of view. From Aristotle to evolutionary and cognitive theories, fiction is supposed to train children's abilities to read mind's, educate them to sociability and solicit capacities to empathy (Schaeffer, 1999, Zunshine 2006). Alexandre Gefen highlighted the extraordinary vogue of theories that attributed healing powers to fiction (2017).
My purpose in this paper is to question the intelligence of fiction, rather than whether it makes the reader more or less intelligent. I would also like to take the gap I just have developed into account, i.e. between the lasting accusations against fiction and its praise.
Keywords: Fiction, Intelligence
1. Cognitive shift and doxastic
plasticity
The metaphors of "transport" (Marie-Laure Ryan, 1991), "fictional immersion", the concepts of "deictic displacement" all suggest that exposure to a fiction implies a cognitive change and the choice of an imaginary environment that reorders spatial and temporal references, sometimes modifies logical modalities. This displacement implies the provisional adoption of the point of view of the character or narrator. The crucial question is to know to what extent this cognitive operation can lead to a change in beliefs (doxastic plasticity). An important argument for criticism and praise of fiction is rooted in this phenomenon. Fiction would thus be an exercise in mobility in the playful adoption of points of view. Is it a factor of corruption or relativisation of values and tolerance? We relate this questioning to the theory of storyworld possible self (Maria-Angeles Martinez, 2018).
2. Ameliorative representation and
ability to shape the world
Fictions are very often criticised for giving people a flattering image of the world, which would lead them to escapism and optimism that would make readers unsuitable for the real world (Oatley, 1999). This is indeed a constancy of fiction. The social classes represented are always higher than
those of their readers: this is true of novels between the 17th and 19th centuries as well as today's television series. With two examples, however, I will defend the hypothesis that fiction very often has the function of providing positive models of individual and collective behaviour. In the case of fiction dealing with disasters, it is always the human link that is represented in a privileged way to overcome chaos and grief. Novels from the 17th to the 19th century also always represent a much lower fertility than that which exists in reality. While real families commonly have more than ten children, decimated by huge infant mortality, fictional women rarely have more than two or three children. Infant mortality is almost unknown there! The reason is, of course, that a novel cannot develop in an interesting way the destinies of a too large family. Nor is the death of children an exciting adventure. Can we not think that the novels have prepared the demographic transition in this way? Would not they have proposed a family model where the individual comes first?
3. The tendency for reflexivity and
metaphorization of cognitive
processes
The ability of fiction to integrate elements of theorisation about fiction itself is certainly a constituent element of its "intelligence". It would be useful to question the status of metafiction from a historical perspective and to ask ourselves what
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status to give to what Richard Saint-Gelais calls the " autochthonous theories of fiction" (2005). The most developed illustration of meta-fictionality is the representation of an entry into a world of fiction in a fiction. However, this entry is regularly shown in a dysphoric light. A sensorial frustration systematically accompanies it. Finally, I would like to question the ability of fiction to metaphorise, and for a long time now, cognitive processes that have only recently been discovered in neurosciences. The relationship of fiction with inhibition of action could also be one of the reasons for the very ambivalent relationship of civilisations, for more than a thousand years, to fiction. Fiction is capable of suggesting the pleasures, benefits and dangers it embodies. If I use this turn of phrase ('fiction is capable'), it is not that I consider fiction as a person, but that I am doubtful as to the author's full awareness of the scope of meta-fiction metaphors.
Bibliographical References
Gefen, Alexandre. (2017). Réparer le monde. La littérature française face au XVIe siècle. Paris: José Corti. Lavocat, Françoise. (2016). Fait et fiction. Paris: Seuil. ___. (2018). Amour et catastrophes. In Le Désordre du
monde (“Rencontres Recherche et Création" du
Festival d'Avignons sous la direction de Catherine Courtet, Mireille Besson, Françoise Lavocat, Alain Viala, pp. 217-237). Paris: CNRS Editions Lavocat, Françoise (ed.). (2016). Interprétation et sciences
cognitives. Paris,:Hermann.
Martinez, Maria-Angeles. (2018). Storyworlds Possible
selves. Berlin: De Gruyter Mouton.
Oatley, Keith. (1999). Why fiction may be twice as true as fact. Fiction as cognitive and Emotional Simulation.
Review of General Psychology, 3 (2), pp. 107-117.
doi.org/10.1037/1089-2680.3.2.101.
Ryan, Marie-Laure (1991), Possible Worlds, Artificial
Intelligence, and Narrative Theory. Bloomington
(Ind.): Indiana University Press.
Saint-Gelais, Richard. (2005). Les théories autochtones de la fiction. Atelier Fabula. Disponible en ligne, URL : http://www.fabula.org/atelier.php?Les_th%26eac ute%3Bories_autochtones_de_la_fiction [dernière mise à jour : 23 mars 2006, consulté le 15 juin 2014]. Schaeffer, Jean-Marie. (1999). Pourquoi la fiction? Paris:
Seuil.
Zunshine, Lisa. (2006). Why We Read Fiction. Theory of
Mind and the Novel. Columbus: The Ohio State
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The Presence of Metaphysical Symbolism in Architectural
Formation of Armenia Early and Medieval Spiritual Sites
Armen SHATVORYAN
National University of Architecture & Construction of Armenia (NUACA) E-mail: ashatar@gmail.com
Abstract
Through the analogy of the architectural environment with the special, meaningful proportions, astronomical regularities, etc., the work emphasises the importance of design approach in architecture where the metaphysical concepts and factors are reflected as signs of universal rules and creative solutions forming the space.
In the chapter, particular attention is paid to one of the most famous and unique Armenian temple – Zvartnots, where the covered metaphysical meanings appear. Visual signs and ideas, carved in the stones of the facades of the churches and surfaces of the khachkars – the identifying cross stones of the Armenian culture were analysed as well. Correspondingly the complex methodology of architectural design is discussed, when metaphysical components are taken into account in order to achieve a better environment, and which can be applied to all branches of Architecture from micro- to macro-level.
Summing up, the “true” definition of Architecture is addressed as one of the highest expression of human creative activity.
Keywords: metaphysical symbolism, meaningful architecture, analogy
1. Introduction to the Armenian
creativity
Armenia is a country of an ancient, distinctive culture, with a distinct history, full of trials and inexhaustible energy of creation, juxtaposed to the destructive force of numerous conquerors. The cities and structures built anew on the destroyed and looted territories are proof of that thirst for creation. Having carried through the centuries the experience of creative work with space, the search for new forms and the dissemination of spiritual ideas - architecture has become an integral “representative” part of Armenian culture. It is worth to note that since ancient times, during the Kingdom of Urartu, about 850 years B.C. when Rome was just rising, Armenian architects had already built three-story palaces and typical residential buildings (see Fig. 1) (Hasratyan, 2010, p. 200).
Following the adoption of Christianity as the state religion in 301, Armenian architecture quickly found its niche in global architecture, with the churches and monasteries that have survived to our years (Hastings, 2000).
Below, the creative approaches of architectural thought, on the example of religious buildings of early and medieval Armenia, in particular churches, monasteries and khachkars, will be considered. Using natural resources for construction such as varieties of basalt, tuff, etc., Armenian architects and stonecutters achieved a high level of skilfulness in refining them and achieving the constructive and artistic tasks set. Constructed from carefully processed natural stone, these structures, even
with their ruins, leave a very strong impression on people.
Fig. 1 Typical residential houses (at the top),
Multi-floor buildings in the Kingdom of Urartu, VIII century B.C. (at the bottom) (Hasratyan, 2010, p. 200)
Moreover, they affect not by the grandeur of Egyptian temples, or the majesty of Roman aqueducts and amphitheatres, nor the pomp of Muslim madrassas, or overwhelming scale of Gothic churches and the brightness of the golden decoration of Orthodox churches. The architecture of Armenian churches and monasteries affects a person solely by proportionality of forms, the richness of compositional, practical solutions and methods, constructive meaningfulness and logic, as well as moderateness in decorations. (Azatyan, 1987).
All these constructions are professionally linked to the immediate environment of their location,
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starting from the selection of the location for construction and ending with the correlation with the surrounding nature, as if “growing out” of it. At the same time, the author’s mastery is manifested in the harmonious combination of solidity, aesthetics and proportionality with the most important filter of architecture – the human being. There is also an incredible combination of continuity to the traditions of the past and the search for new compositional solutions. This is “tolerance” towards new forms and their harmonious interaction with well-established laws of creation. All this ultimately manifests itself in architecture as an ordered combination of the “old” and the “new”.
However, besides what was mentioned above, another important factor, that is present in the culture of the Armenian people and is reflected in the architecture should be noted, i.e. the existence of the meaningful metaphysical concepts in the formation of the spiritual sites and objects of Armenian culture.
2. Metaphysical symbolism
The “astronomical, universal heritage” presence in the pre-Christian period should also be attributed to the aforementioned well-established laws of creation. With a close analytical look at the essence of forms and architectural solutions, the hidden, metaphysical ideas and laws are revealed to the observer (Neapolitanskij, 2013).
Thus, it is interesting to analyse the shaping and symbolism of the Armenian “khachkars” - architectural monuments and relics, which represent a stone stele with a carved image of a cross.
The word khachkar is composed of the Armenian root “Khach” - “cross”, and “kar” - “stone”, which represent numerous monuments of great spiritual value scattered throughout the Armenian highlands. The Armenian cross itself, also called blooming, is a kind of a cross, distinguished by sprouted branches (see Fig. 2) (Hakobyan, 2003).
Fig. 2 Noratus cemetery, 10th century, (at the top),
Khachkar at Dadviank monastery (in the middle), as well as Armenian “sprouted” cross (on the bottom left). Khachkar, 996, from the Cape of Noratus; is currently stored in Etchmiadzin Monastery (on the bottom) (Hakobyan, 2003), (Architecture, 2012). The blossoming endings symbolise the life-giving power of the cross and its distinction from the cross as an instrument of punishment (Architecture, 2012).
Coming back to the khachkars, it should be noted that one of the significant difference from other similar stone monuments lies in the distinct, patterned symbol that is traditionally forming the Armenian cross and symbolising the “world”. The symbol has a special name in the Armenian language: “vardak” - “rose”. The same name was given to the “lace pattern” that was used in the pagan era, when women knitted a pattern for domestic needs, singing (programming) positive wishes to the close relatives (see Fig. 3).
Fig. 3 The lace pattern “Vardak” on the Goshavank
Monastery khachkar, made by the Master Poghos, 1291 (Photo of the author).
There is also another etymology of the word "vardak", derived from the word "vardan" - (from Proto-Armenian "rotating", "khalke"), referring to another cosmogonic symbol - the swastika, widespread in pagan times, which found its
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reflection in the Christian architectural heritage that reached also our days (Avetisyan, 2017). The word “swastika” itself is a compound word of two Sanskrit roots meaning “su” – सु “good”, and “asti” - अस्ति, “life, existence”, i.e. “well-being”. When analysing the schematic essence of such symbols, it is possible to carry out an explicit visual identification of the image with the rotational motion of the galaxy (see Fig. 4).
Fig. 4 Example of a spiral galaxy (to the left top),
“Arevakhach”, Armenian sign of eternity at Makaravank, near Achajur (X century) (to the right top), as well as 5-arched eternity sign on the Cathedral of the Holy Mother of God, Harichavank Monastery, (XIII century) (in the middle), and Aghout cemetery in Sisian (below), (Avetisyan, 2017), (Armenian eternity sign, 2013).
Accordingly, such obvious similarities with cosmic elements indicate indirectly but firmly the astronomical knowledge coming from the pre-Christian period and metaphysical meanings, influencing on the formation of spiritual structures such as khachkars, churches and temples.
3. The development of the
metaphysical symbols with their
covered meanings
The development of the symbol of swastika evolved into another rather common image - Arevakhach “Arev” - “Sun”, and “Khach” - “Cross” (Sun Cross), also known as the Armenian Sign of Eternity - ancient Armenian symbol in the form of a circular, vortex, screw-like circle, similar to the sun. The main meaning of “arevakhach” is the divine light, and hence the sun, the flow of life, well-being, glory, eternity and good luck. (Armenian eternity sign, 2013).
“Arevakhach” in ancient Armenia was applied to weapons, objects of everyday use, carpets, clothes, family flags and coats of arms, as well as it was used in the design of the tombs, churches, khachkars, and in general in the architecture of medieval Armenia (Fig. 4).
That symbols, one of the oldest in the Armenian culture, the pagan “Arevakhach”, came from pre-Christian time, like many other Armenian creative traditions, was transformed from a more dynamic and “astronomical” image, into the mentioned above pattern - “vardak” - a symmetrical, structured, static image and was incorporated into Christian architecture.
And here, it is interesting to draw the analogy of the essence of the symbol with other similar images such as “mandalas,” schematic images of the universe, which is also amazing in its diversity, at the same time having a common, clear, symmetrical-structural concept (Fig. 5)
The essence of this image is nothing but a visual schematic symbol of the universe, as it reflects the rules and cyclic regularities in the world.
Fig. 5 Lace pattern of Dadivank khachkar, beginning of the XIII century, Artsakh (on the left), and example of a mandala (on the right) (Alaexis, 2010).
Analogically it is coinciding with our "earth" as it also a "universe - world" on which the cross - a symbol of the Christian faith, stands and grows. As a conclusion, again, it is necessary to underline the reflection of the metaphysical symbols, came from a pre-Christian time, and finds their reflection in post-pagan periods, accordingly influencing the culture and creative processes.
4. Meaningful architecture
Further, the pearl of the medieval temple architecture is presented - the temple of “Zvartnots”, (640-650 A.D.) - the “Temple of the guarding angels” from the Armenian word “zvartun” – awaken angel.
The construction of the temple, majestic in those days, began in 640 and lasted for twenty years approximately. The initiator of this large-scale construction was the Catholicos Nerses III the Restorer. (Marutyan, 1963).
This unique structure was designed to eclipse all the existing ones back then, with its scale, magnificence, and most importantly, its compositional approach and architectural
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appearance.
The ceremony of consecration of the colossal temple was attended by the Byzantine emperor Constans II, who wished to build a similar temple in Constantinople. In the X century, the temple collapsed during an earthquake due to the weakness of the nodes of supports of the second tier. The ruins of Zvartnots were discovered during excavations in 1901-1907 by the architect Toros Toramanyan. (Mnatsakanyan, 1971) (Fig.6). If we analyse the overall architectural and planning composition from the point of view of medieval "metaphysical geometry", it is interesting to note that the “cosmogonic” spiral, which is differently reflected in many ways in a wide range of architectural monuments and objects, here as well could be fitted into the square on the plan of the temple.
Fig. 6 Ruins of Zvartnots Cathedral (at the top), and
the Toros Toromanyan’s visual reconstruction (at the bottom) (Mnatsakanyan, 1971). Starting from the eastern wall, which also symbolically coincides with the idea of “I am the Light”, this square surrounds all four corners of the square described around the circumference in a form of a spiral, it also surrounds all the four columns, eventually ending in the centre of the temple where the "heaven and earth" are connected.
The four columns, in their turn, symbolise the four gospels on which the Christian faith itself is based (Fig. 7).
Fig. 7 The symbol of “Spiral”, laid over the general
plan, (at the top); in the capitals of the inner columns, with the sign of the Catholicos Nerses III, (in the middle), (the photo of the author); as well as on the reconstruction facade of Zvartnots Cathedral, after Toromanian (at the bottom) (Danelyan, 2012).
The choice of the circumferential outline of the temple plan is unique. From the point of view of architectural creative thought, using the circle as a plan at the times when central-domed temples and dome basilicas were the most common forms, was considered to be a risky step, given the conservatism and traditionalism of Armenian architecture (Fig. 8).
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1 Single-nave basilica, 2-3 three-nave basilicas, 4 dome basilica, 5 church in the shape of a domed hall, 6 central domed temples, 7 cross domed temple, 8 centric temple (Harutyunyan, 1992).
And yet, it is precisely visible here: the phenomenon of the creative architectural inclination of Armenian architects and the stonecutters along with strict adherence to forms and laws - not to forget about the development, by putting into practice risky and bold ideas. Analytically comparing the rectangular contours widely known at that time with the circumferential plan form, one can trace the idea of "spreading" the ideas of Christianity, tracing the dynamic essence in visual comparison with the static, rectangular plans of the "establishment" in other churches and temples.
Another analytical moment of the space-planning solution of the temple consists of its visual appearance. When considering the reconstruction of the facade, it is possible to superimpose the same spiral already in the vertical direction, continuing the idea of "spreading", both on the plan and in the general-volume appearance of the structure (Fig. 9).
Fig. 9 The spiral laid over on the plan of the temple,
centrifugally "spreading" the idea of Christianity, and the Fractal geometry of the formation of the temple plan (Danelyan, 2012), (Marutyan, 1963).
This is also possible to affirm judging by the comparison of the roof slope at the top level of the temple. Usually, the roof slopes of the Armenian churches are with higher angle, in the contrast of the Zvartnots’ roof lower angle.
Having a circle as the "starting" point for “spreading the idea”, the whole essence of the semantic composition comes in as one natural ensemble of
architectural solutions.
Here it is worthwhile to pay attention to the architectural and creative factors that formed this space. In the past, the religious buildings of Armenia were built primarily based on the main idea. In the Middle Ages, one central idea prevailed in Armenia - dissemination of the laws of the Christian religion, in particular of the Armenian Apostolic Church (Fig. 9).
That was of particular importance as a general concept of national identification for Armenia which was under the rule of the Christian but still Orthodox Byzantium at that time. As for the architecture, it is worth noting that the basic idea of building any temple or church was “the earthly manifestation of a high, hidden spiritual meaning”, for the temple is a spatial manifestation of the divine idea of harmony in our visual-material world.
5. Discussion
In conclusion, it should be emphasised that the essence of architecture, its authenticity, as well as the usefulness of its role in human life, only seems understandable. If we draw an analogy with other life phenomena, then sooner or later we face a situation when what once was obvious and “fully” studied, turns out to be still carrying hidden potential. This is most clearly manifested in the analysis of the influence of architecture on human life, as well as the comparison of different approaches in the creative process itself. Thus, the design of architectural structures in different periods of past centuries is strikingly different from architectural design today, although the essence and purpose of architecture remains unchanged - to provide for the human needs in terms of the space (shelter from external natural influences, housing, creating a comfortable working space, leisure facilities, and etc.). And it is not so much about the difference in the use of creative tools, from lines and drawing boards to virtual design and using all kinds of software and BIM (Building Integrated Models) technologies, but rather about the approaches to the architecture itself, to its particular creative process to achieve the “expected” result.
Located in the Caucasus, Armenia has more than 4,500 monasteries and churches. The evolution of their architectural design from ancient times until now follows specific unique rules and regularities. The architects of the past viewed architecture as a creative, methodical process through which it was possible to achieve the most harmonious organisation of space as a whole, regardless of the purpose and functional orientation of the structures.
It is interesting to note the general trend in the architecture of past historical periods in different cultures. It is quite often based on an analogy of the
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macro and microcosm, and the aspiration to organise space in accordance with the laws of the universe.
Today it is difficult to define the complete sense of the architecture, and the full impact of that kind of human creative activity.
Many architectural monuments scattered throughout the country witness the strength of the people’s spirit and contain rich research material.
Bibliographical References
Alaexis. (2010, July). File: Dadivank khachkar.JPG.
Retrieved from:
https://commons.wikimedia.org/wiki/File:Dadivan k_khachkar.JPG
Architecture., T. G. (2012). [Armen.:'cross-stone'] Typical Armenian stone monument, comprising an upright slab (h. c. 1—3 m) carved with a cross design, usually set on a plinth or rectangular base". Oxford University Press.
Armenian eternity sign. (2013, December 3). Retrieved
from Wikipedia: https://en.wikipedia.org/wiki/Armenian_eternity_ sign Avetisyan, V. (2017, May 24). Арев хач — Патеразмахач — Кер хач — Армянская свастика. Retrieved from Вне Строк: https://vstrokax.net/istoriya/arev- hach-paterazmahach-ker-hach-armyanskaya-svastik/
Azatyan, S. (1987). “Portals in monumental architecture of Armenia IX-XIV centuries”. Yerevan, Armenia: published by “Sovetakan Grogh” (Soviet writer). Danelyan, M. (2012). The temple of Zvartnots and the
movement to eternity. Ejmiatsin, 108-114. Hakobyan, J. (2003). "Life in the Monuments of Death: A
visit to the cemetery village, Noraduz". Armenia
Now.
Harutyunyan, V. (1992). History of Armenian Architecture. Yerevan: Luys.
Hasratyan, M. (2010). Histoire de l’architecture Arménienne des origines à nos jours. Lyon, France. Hastings, A. (2000). A World History of Christianity. Wm. B.
Eerdmans Publishing.
Marutyan, T. (1963). Zvartnots and Zvartnots-type temples (Zvartnots ev zvartnocatip tacharner). Yerevan: Haypethrat.
Mnatsakanyan, S. (1971). Zvartnots, The monuments of
Armenian Architecture VII century (Zvartnots,
Pamyatnik Armyanskogo zodchestva). Yerevan: Iskusstvo.
Neapolitanskij, S. M. (2013). The world sacred architecture. Creative principles of world harmony. Moscow, Russia: Amrita-Rus.
