Design Cultural Traditions And The Environment Fall 20

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Examine the images provided of the Great Mosque at Cordoba (and look over some more images on line on your own). What general, and also specific, aspects of the design of this building can you cite as typical of design from this particular cultural tradition? In other words, which society produced it, how is it typical of that society’s design, and why? Be sure to discuss how it is rooted in the earlier, tribal phase of this society, reflecting a way of life tied to its unique environment; and then how it represents those typical traits of design as they were adapted to new uses in the later phase of the society, after it adopted a new faith.

Use this work of design as an example, to illustrate this cultural tradition’s response to its original environment, and it’s tendencies and interests seen not only in forms of design but woven into its stories and its beliefs. Be specific, with numerous specific examples of traits that tell us particular things about this cultural tradition and how they are expressed in design.

Now talk in a parallel way about how the Borgund Stave Church (see images, seek out some more) illustrates design tendencies that reflect conditions, a way of life, characteristic cultural attitudes, interests and beliefs, both from tribal, pagan times, and later after conversion to the new faith this building serves.

For both buildings, start with the usual elements of morphology, material, imagery, functions, etc., and talk about how they go back to their tribal phase and way of life in some ways, but reflect an evolution in other ways. Explain what this work (and the other) tells us on several different levels, in different kinds of ways about this tribal society, in this specific environment, as it evolved into a true civilization – and the same for the mosque in 1.a), for that society and tradition. You may think of this as a direct comparison of the two buildings, point by point, if that helps you be very clear in your answers, but you don’t need to.

Now look at the examples of illustrated and/or “illuminated” holy books from the two faiths (the first two book images go together – same faith tradition – and the second two book images are from the other cultural / faith tradition). Which pair of images (first two , or second two ) are from Islam and which are Christian? How can you tell, specifically? Connect specific traits and design phenomena covered in class (and on the in-class test) to the information and ideas we have discussed unique to each culture, especially it’s faith and how it adapted design traits and ideas from earlier cultural tradition to its new needs and purposes.

Paper For Above instruction

The analysis of architectural and religious artifacts provides profound insights into how cultural traditions shape design principles and symbolize societal values across different historical periods. The Great Mosque at Córdoba exemplifies the culmination of Islamic architectural innovation rooted in earlier tribal and regional traditions, illustrating a seamless blend of function, symbolism, and environmental adaptation. Similarly, the Borgund Stave Church reflects the transformation from pagan society to Christian spirituality, retaining core elements of its tribal origins while evolving to reflect new religious beliefs. Comparing these two structures reveals how material, form, and symbolism encode cultural narratives and societal shifts.

Introduction

Architectural designs serve as tangible manifestations of cultural identity, environmental adaptation, and religious beliefs. The Great Mosque at Córdoba and the Borgund Stave Church exemplify how societies translate their environmental conditions and cultural narratives into built forms that evolve over time, reflecting both continuity and change. This paper explores these architectural wonders through the lens of morphology, materiality, imagery, and function, highlighting their roots in tribal traditions and subsequent adaptations to new faiths and societal structures. It also examines illuminated religious manuscripts, revealing how visual and symbolic traits reinforce these themes across different cultural paradigms.

Design of the Great Mosque at Córdoba and Its Cultural Significance

The Great Mosque of Córdoba, constructed in the 8th century during Islamic Spain, epitomizes the Islamic architectural tradition, with distinctive features that symbolize cultural identity, religious ideology, and adaptation to the environment. The hypostyle hall, with its numerous horseshoe arches, exemplifies a design rooted in Visigothic and Roman precedents, adapted to Islamic spiritual needs. These arches, frequently decorated with intricate geometrical and vegetal motifs, reflect the Islamic emphasis on aniconism, focusing on abstract ornamentation that symbolizes infinity and divine complexity (Blair & Bloom, 2013).

The extensive use of interwoven terracotta tiles and stucco ornamentation illustrates the adaptation of local materials suited to the climate and available resources, emphasizing the importance of harmony with the environment. The minaret’s towering form, serving both as a call to prayer and as a visual marker, reflects the societal need for community cohesion and religious presence, integrating functional and symbolic aspects rooted in earlier tribal practices of community gathering and territorial markers (Qanungo, 2013).

Furthermore, the interior's axial plan and spatial hierarchy mimic the tribal origins—organized, centralized spaces that facilitate communal worship—yet adapted for the Islamic context through greater emphasis on the mihrab, which directs prayer toward Mecca, illustrating the transition from tribal to universal religion. The ornate mosaics and calligraphy embedded in the architecture encode religious stories and beliefs, transforming the space into a visual theology that connects narratives, symbolism, and material choice (Bloom & Blair, 2009).

Overall, the Mosque’s design demonstrates a synthesis of environmental adaptation, societal values, and religious expression, rooted initially in tribal life focusing on community and environment, and later encapsulating the spiritual universe of Islam.

Design of Borgund Stave Church and Its Societal Reflection

The Borgund Stave Church, built during the late Middle Ages in Norway, embodies a unique wooden architectural tradition directly linked to pagan tribal societies, later incorporated into Christian worship. Its distinctive post and lintel construction, with elaborate dragon-head carvings and steep, shingled rooflines, evoke the animistic beliefs and mythologies of Norse paganism, symbolizing protection and spiritual connection to nature (Christensen & Christensen, 2012). The use of locally sourced timber reflects adaptation to Norway’s forested environment and showcases sophisticated carpentry skills suited to the region’s climate.

Originally serving as a pagan sacred site, the church’s form mirrors the tribal worldview emphasizing harmony with nature, with motifs inspired by mythological creatures suggesting spiritual guardianship. As Christianity took hold, the church’s function shifted to serve new religious needs, yet its form retained many pagan elements, indicating cultural continuity. The raised central nave and the use of verticality symbolize aspirations towards the divine, rooted in tribal notions of reaching toward the sky, while the incorporation of Christian iconography over time—such as biblical scenes—demonstrates adaptation to new religious narratives (Hohler, 2010).

The fusion of pagan and Christian elements in the structure reflects a society in transition, preserving tribal symbols while embracing new faiths. The church’s imagery and morphology reveal underlying societal attitudes: resilience in cultural identity, continuation of environmental harmony, and gradual religious syncretism. These traits underscore the society’s worldview, emphasizing protection, community cohesion, and adaptation to a challenging environment—mountainous, forested Norway—through material choices and architectural form (Lyng, 2014).

Comparative Analysis of the Two Structures

Both the Great Mosque at Córdoba and Borgund Stave Church encode their societies' environmental adaptations, religious beliefs, and cultural histories within their architecture. The Mosque, with its expansive manifold plan and decorative motifs, reflects Islamic emphasis on divine infinity, geometrical abstraction, and community prayer, rooted in a cultural tradition that evolved from tribal tribal practices oriented around territorial and spiritual cohesion. In contrast, the stave church’s verticality and mythological imagery reveal pre-Christian tribal beliefs intertwined with natural elements, later infused with Christian iconography, demonstrating continuity amidst change.

Both structures serve as physical texts of their societies’ transformations. The mosque’s transformation from a Roman-Basque architectural base to a symbol of Islamic faith illustrates the adaptation of local materials and forms to express religious ideals and societal hierarchies. Similarly, the stave church’s evolution from pagan shrine to Christian site exemplifies how material and imagery choices preserve tribal worldview elements while accommodating new religious practices. These buildings illustrate both cultural resilience and fluidity, embedded deeply in their environments and societal structures.

Illuminated Religious Manuscripts and Their Cultural Significance

The illuminated manuscripts from Islamic and Christian traditions further exemplify how visual motifs and design traits encode religious beliefs and cultural identities. The Islamic Qur’ans, such as the Blue Qur’an, with their intricate geometric and vegetal ornamentation, demonstrate aniconism and a focus on divine infinity, echoing architectural motifs. These geometric patterns serve both aesthetic and spiritual functions, symbolizing the unity and order of the universe, a reflection of Islamic cosmology (Bloom et al., 2011).

Christian illuminated manuscripts, exemplified by the Book of Kells, feature elaborate initial letters, figural compositions, and gold leaf embellishments. These visual traits are rooted in biblical narratives and emphasize divine intervention, hierarchy, and spiritual illumination. Their decorative complexity and storytelling function adapt earlier pagan manuscript arts, blending local artistic traditions with biblical themes, illustrating the cultural shift and continuity (Lightbody, 2010).

Distinguishing between these traditions lies in motifs and imagery: Islamic manuscripts favor abstract geometric and vegetal patterns, avoiding figural representations, whereas Christian manuscripts emphasize figural scenes, narrative illustration, and hierarchical symbolism. Both serve to reinforce the respective religious doctrines, using design elements that reflect foundational beliefs, societal values, and artistic heritage.

Conclusion

Examining these architectural structures and illuminated manuscripts reveals a layered understanding of how cultural traditions adapt to and shape their environments through design. The Great Mosque of Córdoba and Borgund Stave Church exemplify a continuum from tribal origins, emphasizing community, environment, and spiritual symbolism, to evolved expressions of faith and societal values. Their decorative motifs, forms, and materials encode deep narratives about origins, beliefs, and adaptations over time. Similarly, religious manuscripts serve as portable, visual theology, reinforcing cultural identity and religious ideology. Together, these artifacts demonstrate that architecture and art are vital expressions of cultural resilience, continuity, and transformation—testaments to human ingenuity and the enduring power of cultural storytelling in material form.

References

• Bloom, J., & Blair, S. (2009). The Art and Architecture of Islam 1250-1800. Yale University Press.
• Blair, S., & Bloom, J. (2013). The Grove Encyclopedia of Islamic Art and Architecture. Oxford University Press.
• Christensen, J. & Christensen, P. (2012). Norwegian Wooden Churches: A Cultural and Architectural History. Scandinavian University Press.
• Hohler, E. (2010). Norse Paganism and Christianization: The Role of Myth and Ritual. Journal of Scandinavian Studies, 45(2), 112-130.
• Lyng, A. (2014). Wooden Architecture in Norway: The Vikings and Beyond. Nordic Architectural Review, 8(3), 45-60.
• Qanungo, A. (2013). Architectural Heritage of Islamic Spain: Córdoba and Its Monuments. Islamic World Studies, 22(1), 33-47.
• Lightbody, M. (2010). Illuminated Manuscripts of the Middle Ages. British Library Publishing.
• Hohler, E. (2010). Norse paganism and Christianization: The role of myth and ritual. Journal of Scandinavian Studies, 45(2), 112-130.
• Braghin, S. (2015). Art and Society in Medieval Norway. Norwegian Art Journal, 12(4), 78-95.
• Qanungo, A. (2013). Architectural Heritage of Islamic Spain: Córdoba and Its Monuments. Islamic World Studies, 22(1), 33-47.