Generic architecture in religious worship

The research established that the architectural outcome is often determined by functional needs of the denominational group and more importantly the way they experience transcendence: becoming either an outwardly visible, devoted sacred space or one that denies architectural expression and becomes an ostensible virtual sacred space.

Crusader churches in the Latin East : expressions of medieval theology

The Latin invaders of the Eastern Mediterranean in the 12th-14th Centuries were on a mission to retrieve and protect the Christian Holy Land from Muslim occupation. They encountered a consistent, Eastern approach to the architectural expression of the Christian faith which the physical remains of their churches show they adopted. Previously, I have shown how it can be deduced from the archaeological remains of churches from the 4th-6th C that early church architecture was influenced by the theological ideas of the period. This paper argues that the Eastern approach to church architecture as adopted by the Crusaders was compatible with the medieval European theological context and can be seen as a legitimate expression of medieval theology.

William Wardell's St John's College within the University of Sydney, 1858-59

Ursula wrote the essay for the catalogue of the Wardell Exhibition.

The Great East Window of York Minster

This inquiry into the meaning behind the images of this vast stained glass window has uncovered a complex theology of the Mass; replies to Lollard 'heretics'; and has identified threats to the power of the Church at this critical time in English history at the beginning of the fifteenth century.

Digital museums

The aim of this research was to investigate the design of a digital museum for the Espai Gaudi, Barcelona, Spain. Acting as a repository of information, it provides an experience and understanding to the general public of the use of geometry within the Sagrada Familia Church by architect Antoni Gaudi.

In the Syrian taste : crusader churches in the Latin East as architectural expressions of orthodoxy

This paper explores how the architectural expression of orthodoxy in the Eastern churches was transferred to Europe before the Crusades and then reinforced through the Crusaders’ adoption of the triple-apsed east end “in the Syrian Taste” in the Holy Land. Previously, I have shown how it can be deduced from the archaeological remains of churches from the 4th-6th C that early church architecture was influenced by the theological ideas of the
period. It is proposed that the Eastern orthodox approach to church
architecture as adopted by the Crusaders paralleled the evolution of medieval theology in Europe and can be seen as its legitimate expression.

Transcendence and interiority in architecture : a study of Hagia Sofia, 532-537

The late historian Robin Evans, takes up the debate symbolised between Wblfflin, proposing that meaning is directly accessible through the form of a building, and Wittkower, arguing that meaning lies behind the form of architecture, in other texts and ideas. The focus of their argument is the centralised church of the Renaissance, which holds a special place in the history of architecture for all three historians. Evans' argument makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. He concludes that architecture, in its singular artistic physicality "suspends our disbelief in the ideal", offering a world that does not reflect culture, in all its fullness, but rather supplements culture's incompleteness. Architecture, like art is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order. Does architecture aspire towards transcendence, if so, what is transcendental value in architecture? In this essay I want to turn to Hagia Sofia (Istanbul, 532-537), a church that marks the beginning of a Christian empire relocated to the East of Rome, in Constantinople, built one thousand years before the Renaissance churches; and a building that symbolises the shift towards a domed centralised form, away from a basilica form. Hagia Sofia is an architecture, observed and described in an almost devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. What role does Hagia Sofia play in the kind of artistic mastery that Evans is proposing?

Sveta Bogorodica (The Church of the Holy Mother), Zavoj, Macedonia : writing about an insignificant vernacular building

Sveta Bogorodica (Church of the Holy Mother), Zavoj, is a small church built in 1934 in a village in the Republic of Macedonia. It presented a quintessential architectural division between a richly ornamented interior and a pure white formal exterior. The paper will examine the question of tradition in relation to architecture. What of the formal Byzantine architectural tradition is inherited in this folk vernacular church building? Secondly, tradition as an inherited liturgical ritual and ceremony. How are these two forms of tradition autonomous or intertwined, and how the question about transcendence in architecture pursued in the 2005 paper on Hagia Sofia might be understood within the parameters offered by this church building, will be explored in the paper .

Hagia Sofia (532–537AD) : a study of centrality, interiority and transcendence in architecture

The study by Robin Evans of the centralised churches of the Renaissance explores the idea of centrality, and argues that architecture does not simply invest in one geometric centre. Evans’s analysis makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. In a footnote, he suggests that architecture in its singular artistic physicality ‘suspends our disbelief in the ideal’, offering a world that does not reflect culture, in all its fullness, but rather supplements culture’s incompleteness. This idea reiterates psychoanalytic theories of Freud and Kristeva that qualify the notion of transcendence with the psychoanalytic concept of transference. Architecture, like art, is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order and wholeness. In this essay, I turn to Hagia Sofia (532–537AD) in present-day Istanbul, a church that marks the beginning of a Christian empire relocated to Constantinople, East of Rome, and built one thousand years before the Renaissance churches discussed by Evans. Hagia Sofia is a building that symbolises the shift towards a domed centralised form, away from a basilica form, and a building that develops an innovative interior. Hagia Sofia is usually observed and described in a devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. Its influence on Islamic mosque design has been noted. What rôle does Hagia Sofia play in the kind of artistic mastery that Evans is proposing, and what other dimensions of centrality and transcendence in architecture are offered by a study of Hagia Sofia?