Symbolism in Exhibitional Architecture

LEBANESE UNIVERSITY
Faculty of Fine Arts

Branch III
A Thesis Submitted as a partial fulfillment of the requirements

for the degree of Master of Architecture
SYMBOLISM IN EXHIBITIONAL
ARCHITECTURE
Philosophy of Space
Thesis Advisor Arch. Rola Saadi

Prepared by Adonis El Hussein
Lebanon -Tripoli
2015-2016
Committee Members:
Dr. Nahed Ghazal
Dr. Samir Tawil
ACKNOWLEDGEMENTS
Although only few names are included in the first pages of this
thesis, a great many people have contributed to its production. I owe
my gratitude to all the people who were involved in this work and
who supported me throughout my research. I am indebted to the
counsel, guidance and support of the committee members Dr. Nahed
Ghazal and Dr. Samir Tawil. Their contribution to the development
of this paper was crucial and valuable.
I am unmeasurably grateful for the assistance of my thesis

advisor Arch. Rola Saadi. The encouragement and motivation, that
she provided me with, pushed me through the quest of this complex
and intriguing topic. Only due to her faith in me this work was made
possible. The path that was laid through days and nights of
deliberate research and design work, was guided by the light of her
advice. Streams of thoughts came at the right moment and right
people were there to assemble them.
Circumstances were on my side. Im thankful for having the

chance to work on the theme that I have passion for.
METHODOLOGY
The main research is contained in the first three chapters that

analyze the chosen topic. Additional chapters include study, analysis
and supportive data regarding the project emerging out of the theme.
The first chapter relies on ideas and concepts of renowned

philosophers and architects to better understand the notion of
symbolism in architecture. Definition of this notion and the study of
its appearance in secular architecture, on the other hand, are an
assembled outcome of the research. They were not taken for granted
out of a source, but were generated during the analysis. In the second
chapter, on the contrary, the concepts of exhibitional space are taken
directly from the trusted references. The Analysis of the chosen study
cases of museum embedded with symbolism, in the third chapter,
mainly relies either on the words of architects of these buildings or
on previous examinations performed by other researchers. The
analysis of the cases, nevertheless, is not devoid of personal study
and drawing of conclusions. The last two chapters are specialized for
the intended project, its site analysis, and the final project outcome.
TABLE OF CONTENTS
INTRODUCTION...1
CHAPTER 1: UNDERSTANDING THE SYMBOLISM IN
ARCHITECTURE
1.1 Definition of Symbolism and its Purpose ..5
1.2 Distinction between Symbolism and Representation.10
1.3 The Beginning of Symbolism in Architecture - Between Scientific
Knowledge and Religion:
1.3.1 Newgrange Mound Case..12
1.3.2 The Pyramids Complex in Giza Case.15
1.3.3 Deduction ..18
1.4 Appearance of Symbolism in Secular Architecture.19
1.5 The Languages of Symbolism:
1.5.1 Material...22
1.5.2 Form ...23
1.5.3 Light....23
CHAPTER 2: SYMBOLISM IN CONTEMPORARY EXHIBITIONAL

ARCHITECTURE
2.1
2.2
Creating the Exhibitional Space - Exhibit Design....27

The Architecture of Museums - Past and Present
2.2.1 Origins and Description...30
2.2.2 Purposes and Goals .....31
2.2.3 Contemporary Museum Planning ....34
2.3
Appearance and Manifestation of Symbolism in Contemporary

Museums ..35
CHAPTER 3: CASE STUDIES

3.1
3.2
3.3
Jewish Holocaust Museum of Berlin .......40

Louvres Entrance Pyramid Complex......45
Quai Branley Museum, Paris.49
CHAPTER 4: INTENDED PROJECT HISTORY OF NATURAL

SCIENCES MUSEUM
4.1
4.2
4.3
Purpose and Main Idea..57

Program and Spaces First Proposal......59
Chosen Site and Analysis..62
CHAPTER 5: CONCEPTION AND FINAL PROJECT.67
CONCLUSION.....84
APPENDIX ...87
REFERENCES ...94
Symbolism in Exhibitional Architecture

Philosophy of Space
INTRODUCTION
Since the very beginning, human beings have used symbols and
different representational drawings to depict information and label the
elements of their inhabited environment. Behind these images, which took
numerous shapes and forms, usually stood a solid and well defined
conceptual idea. The German philosopher Ernst Cassierer comprehensively
classified the human being as a symbolic animal who needs to provide
meaning to whatever given to it1. According to his philosophy, meaning
was very essential to the human mind and its presence was a fundamental
requirement of humanity. The idea that the mind perceives in a symbolic
way may imply that everything produced by it similarly contains
significance. This concept might seem legit and appealing if one takes a look
at the products of the humans artistic expression: almost every work of art
is clearly embedded with some kind of symbolism.
After a brief analysis of this philosophical notion, from an architects

point of view, a number of very important and intriguing questions might
come to mind: Does this need of meaning extend to the realm of
architecture? If this is true, then how can architectural space be symbolic?
Answering these questions seems to be essential for a deeper understanding
Cassierer, 1953
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of the theme. This is the exact reason why I chose to undertake a research
concerning symbolism in architecture in the first place, but the research does
not stop here.
It seems to be clear and vivid that some architectural spaces are simply
filled with meaningfulness. This can be noticed mostly in religious buildings
from different eras. Egyptian temples, Byzantine churches, Islamic mosques
and other sacred structures are generally embedded with symbolism on
various scales and levels. Yet, after a closer look, similar elements of hidden
concepts and ideas could be found behind some secular ancient monuments
and numerous contemporary buildings, especially museums. The physical
structure of the exhibit spaces often implements the atmosphere of the theme
that the exhibited collection encircles. The use of architectural symbolism
behind such spaces becomes very vivid and undeniable. Although the
encrypted ideas could differ, the rich and conceptually saturated quality of
architecture may be observed in numerous modern exhibitional spaces
around the world.
The use and implementation of symbolism into contemporary exhibits

cannot be a spontaneous phenomenon. Encrypting contemporary museums
with meaning should have a well-defined and logical purpose. From here,
another question may arise: What role does the architectural symbolism
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play in contemporary exhibitional space? Does it alter the quality and

characteristics of this space in any way? The following research will aim on
answering all these emerging questions and raise the doubt around them.
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Chapter 1:
UNDERSTANDING THE SYMBOLISM IN
ARCHITECTURE
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Chapter 1
UNDERSTANDING THE SYMBOLISM IN

ARCHITECTURE
Before studying the symbolism in contemporary architectural spaces,
defining and understanding all aspects of this idea seems essential. To better
grasp this concept, the first applications of symbolism, according to history
and archaeology, may be noted. Origins of the hidden significance behind
architectural spaces and its nature will be covered through this chapter.
1.1. Definition of Symbolism and its Purpose:

The various products of culture language, scientific knowledge,
myth, art, religion become parts of a single great problem-complex: they
become multiple efforts, all directed toward the one goal of transforming the
passive world of mere impression, in which the spirit seems at first
imprisoned, into a world that is pure expression of the human spirit.
-Ernst Cassirer, The Philosophy of Symbolic Forms (p.80)
Studying the concept of symbolism in architecture might put us before

many different paths that, in their turn, do not always intersect or lead to the
same understanding. This is due to the fact that it is practically hard to form
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an objective analytical point of view concerning the Philosophy,

symbolism and meaning behind architecture, despite it being a materialistic
and functional form of art. What seems to be straightforward at first look
might be perceived subjectively and differently in the minds of different
people. This subjectivity in understanding architectural symbolism and its
meaning leads us to a unifying conclusion that our definition will be
subjective to some extent. Nevertheless, in order to achieve the maximum
credibility and precision in defining the concept of symbolism in architecture
and its purpose, we will rely on ideas of great architects and philosophers of
arts who have studied this topic.
The etymology of the word symbol originated first in the Greek

language as a construct of two words: sym (a prefix meaning with or
together with) and the root bolos (a throw). Hence, a symbol was a
throwing (or putting) together into one piece. Comparing the contemporary
meaning of the word and its etymology, we notice a big difference in the
meaning. The normative understanding of the word symbol as defined in
the Oxford English Dictionary is a written character or mark used to represent
something; a letter, figure or a sign conventionally standing for some object,
process, etc.
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Many renowned architects formulated and published their ideas and

concepts concerning symbolism. One of them is Bernard Tschumi, who has
his own point of view regarding the meaning behind architecture. He
declares that architecture goes further than simply being a thing of the
mind and it reaches the sensual experience2. He also draws a line between
architecture as knowledge and architecture as experience where according
to his philosophy, without the experience and perception, the symbolism for
the sake of pure symbolism is meaningless. The keyword in his concept is
thus the word experience.
Based on this idea of experience, the scope of our search may now be
narrowed. Focusing on the concept of symbolism as an experience, one might
reach a conclusion that the Theory of Symbolism of the German
Philosopher Ernst Cassierer (1874-1945) best describes the concept of
symbolism in arts (including architecture).
According to Cassierers philosophy, a symbol is a unified construct.

The form, structure, and aspects of a construct are supportive of and
definitive of the whole. The whole is not obtained from its parts, but every
notion of a part already encompasses the notion of the whole, not as content,
Tschumi, 1998, 221.
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but as to general structure and form3. Translating this philosophy unto the
realm of architecture, this means that the symbolism in the architectural
space is a global concept that is implemented in all elements of space and
forms one unified meaningful idea that each individual may experience
through his senses.
In addition, we may note the ideas of the American architect Peter

Eisenman who understood the concept of symbolism as a process of
abstraction. This abstraction means that the symbolism and the meaning
behind it are different from the reality that they depict4. The symbolism
should contain enough appropriate information for its intended purpose
to be linked to the original idea. Symbolism in architecture is the depiction
of a certain reality but it is different from the reality itself. Keeping this in
mind, we may differentiate between the reality and the meaning.
In order to understand the purpose and the main motives of this

symbolism, we may again refer to Cassierers The Philosophy of Symbolic Forms
where he states: The man is a symbolic animal who needs to provide
meaning to whatever is given to it. According to this philosophy, the
meaning behind every human creation becomes a necessity due to the nature
3
4
Cassierer, 1953, 101

Eisenman, 1998, 524
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of the consciousness itself. In his opinion, the human consciousness tends to

give meaning to everything that it perceives. Hence, the symbolic forms
become the highest objective truths that are accessible to the human spirit.
The Symbolic forms are a means to new knowledge and discovery5. While
speaking of the capacity of the symbolic forms he has noted three main
arguments supporting his idea. First is that the symbolic forms articulate and
reveal the world of experience. Second is that the symbolic forms are able to
help men to discover themselves. They are roads by which the spirit
proceeds towards its objectivization, i.e., its self-revelation. Third is that the
man perceives his spiritual self in relation to the sublime: There is here a
synthesis of world and spirit6. The symbolic expressions relating to
scientific knowledge, religion or culture resemble the sublime and lead
the human being in his search of the ultimate meaning of his existence
through sensual experience of these expressions. In this way, architecture
acquires two main aspects or values: the physical value that is translated by
materiality, scale and form, and the intellectual value which is translated by
symbolism.
5
6
Cassierer 1953, 51
Cassierer 1953, 46,61,65,78
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1.2. Distinction Between Symbolism and Representation:

Throughout the researching phase, one might face many difficulties in
understanding the difference between symbolism and representation mainly
due to the fact that many writers equate the concepts behind these words.
For our research, drawing the line between these two words is essential.
After defining the meaning of symbolism in architecture, we should now
state how it is different from representation.
According to Ernst Cassierers philosophy, the word representation

might actually stand for the contemporary use of the word symbol
according to the dictionary. In his understanding, the representations are
artificial or mechanistic reproductions7. The representation are onedimensional imitations of an idea that in reality has a multi-dimensional
form. Hence, this representation does not depict the idea as whole, but
imitates some elements referring to it. The letters, figures and signs that
may be implemented in the design of an architectural space cannot be
considered as symbols according to this understanding.
Moreover, Cassierer states that implementing representation into a

symbolic form blurs and confronts the meaning behind the symbol. Form
Cassierer, 1953, 52,86,108
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belongs to both space and time and it must assert itself in the temporal8.
This means that the meaning behind the symbolism might change with
time, depending on the perception of the current viewer and his
background, giving the architectural symbolism a fourth dimension.
Representations on the other hand disallow any new meanings from being
implemented. The perceptional experience is a unique phenomenon where
cannot be just one representation.
1.3. The Beginning of Symbolism in Architecture Between

Religion and Scientific Knowledge:
To track down the beginnings of symbolism in architecture we need to
rely on historical information and recent interpretations concerning the
evolution of architecture itself. The results of the study show that hidden
meaning was already being embedded into architectural spaces since the
early stages of the development of societies9. Symbolism is present in some
of the oldest religious structures on earth including the prehistoric circular
mounds in Western Europe, Stepped Ziggurats in Ancient Far East and the
pyramids in Egypt.
8
9
Cassierer, 1953, 31
Since the Neolithic period
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Two interesting questions arise here: What is the nature of the hidden
information behind these structures? And how is it related to the primary
function of these ancient monuments? In order to answer these questions,
the cases of the Newgrange mound and the Pyramids Complex in Giza will
be studied as the most suitable examples.
1.3.1.
Newgrange Mound Case:
Figure 1 Newgrange Mound in Ireland (Source:

Wikipedia.com)
Figure 2 Entrance of the Mound with the Carved Stone Art

(Source: Wikipedia.com)
Newgrange (within the Archaeological ensemble of the Bend of the

Boyne) is an ancient monument located in County Meath, Ireland. It is
considered to be one of the oldest prehistoric structures situated in the lands
of modern Ireland, Wales, Scotland and England. Being built during the
Neolithic period around 3000 BC to 2500 BC10, it precedes the construction of
the Egyptian Pyramids in Giza and the Stonehenge complex. Similar to some
of the prehistoric structures in the region, the site is composed of a large
circular mound with a stone passageway and interior chambers. Right before
the entrance of the passageway, a number of megalithic stones with carved
10
Grin, Gorin, Fleming, 2001, 159
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triple spiral shapes are present. The archaeological studies undertaken at

Newgrange were vast and lengthy, but the researchers were not able to
determine the exact purpose of this site11. The ancient function of this mound
is still subjected to debates and speculations, although many of the specialists
point out to the possible religious use: Some archaeologists stated that the
interior chambers could be tombs while the geometric carvings on the stones
might depict some spiritual or cosmological significance12. But one of the
most vivid and solid facts that the researchers were able to note is the
Astrological symbolism present in the structure.
The mound was found to be aligned to the position of the rising sun at
the winter solstice, the shortest day of the year13. The long passage at the
Newgrange admitted a narrow beam of light illuminating the central
chamber at midwinter revealing the carvings inside including the triple
spiral14 of the inside wall. The sunlight enters the passage through a specially
dedicated opening (roofbox) directly above the main entrance and is able to
reach the floor. Professor M. J. O. Kelly was the first modern person to
observe this event on 21 December 196715. The illumination lasts for around
11
Different theories exist. Only the most important ones will be stated in this section.
OKelly, Michael J.,1982,122
13
Between December 21 and December 22, depending on the location and year.
14
The meaning behind this Pre-Celtic symbol was not yet certainly identified. One possible interpretation is the
union between a male and a female that gives an offspring, thus symbolizing fertility.
15
Bru na Boinne (Newgrange, Knowth and Dowth). Retrieved on 16 November 2015 from
(http://www.meath.ie/Tourism/Heritage/Newgrange)
12
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17 minutes. Today the first light

enters the structure in the morning
about four minutes after sunrise,
but calculations based on the
precession of the Earth show that
5,000 years ago first light would
have entered exactly at sunrise16.
Figure 3 Plan and Section of the Newgrange (Source:
Wikipedia.com)
The precision in the alignment
prevents us from doubting the idea that the builders intended this
Astrological feature. Conceptually, the idea of this alignment was thus
integrated as a basis into the design of the mound.
This Cosmological symbolism of the Newgrange has pushed Martin

Brennan, an Irish-American author and researcher, to develop his own
theory regarding the intended purpose of the mound. He saw a direct link
between the meaning of the carved art on the stones and the alignment of the
mound, thus stressing on the symbolism of all elements of the mound
including signs and drawings. In his book The Stones of Time, he stated that
the Newgrange might have been used as a sun chronometer, and its main
function was therefore astrological17. After many years of studying the
16
Planet Quest: The History of Astronomy Newgrange. Retrieved on 16 November 2015 from
(http://www.planetquest.org/learn/newgrange.html)
17
Brennan M, 1994. The Stones of Time: Calendars, Sundials and Stone Chambers of Ancient Ireland. Vermont.
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megalithic sites in the region, he formed many supporting ideas for his
theory, but his explanation was not widely acclaimed. Nevertheless, his
effort was helpful in proving the Astronomical meaning behind the structure
despite the speculation around the function of Newgrange (whether it was
purely astrological, burial and religious or a combination between them).
1.3.2.
The Pyramids Complex in Giza Case:

The Giza Pyramid Complex is an archaeological site that consists of
three colossal pyramids, a Great Sphynx, several cemeteries, a workers

village and an industrial complex. What interests us mainly out of this
ensemble is the Great Sphynx and the Pyramids Triade, which were built
consecutively
starting
with
the
Cheops
Pyramid
(Constructed
approximately between 2580 BC and 2560 BC)18. Egyptologists identified that

the three main complex structures served the function of tombs for the
Pharaohs Khufu (Cheops), Khafre (Chefren) and Menkaure (Mykerinos)
Figure 4 Pyramids Complex in Giza (Source: Wikipedia.com)
18
The approximation is based on marks in an interior chamber naming the work gang and a reference to the fourth
dynasty Egyptian Pharaoh Khufu.
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Philosophy of Space
respectively. The Great Pyramid, being Khufus tomb, is the oldest of the
Seven Wonders of the Ancient World and the only one of them to survive
and stand till our days. Many mysteries surrounding the Giza ensemble have
not been solved yet, nevertheless many facts regarding the symbolism
behind its architecture are already proven. Religious meaning is thought to
be encrypted in the pyramidal form that symbolizes the sun beams on which
the pharaohs were believed to be transported to the god Ra19. The scientific
symbolism, on the other hand, is even more certain. The mathematical and
Astrological significance encrypted in these ancient structures was revealed
by the researchers after a detailed study of the Positioning of the Pyramids
and their geometry.
According to Robert Bauval, a Belgian author and researcher, the

mapping of the Pyramidal complex itself and the positioning of the elements
contain a hidden meaning behind them. The Orion Correlation Theory20,
which is a hypothesis in alternative Egyptology, states that there is a
correlation between the location of the three largest pyramids of the Giza
complex and the Orions Belt (Orion Constellation). According to this theory,
the Astrological significance in the architecture of these pyramids was
intended due to the association of the stars of Orion with the god of rebirth
19
Moffett, Fazio, Wodehouse, 2003, 24

For further explanation of the theory, refer to the collaborative work with Adrian Gilbert (The Orion Mystery,
1994) and Graham Hancock (Keeper of Genesis, 1996).
20
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and afterlife Osiris. As an extension to this idea, the Great Sphynx was
thought to be associated with the constellation of Leo, which explains its lion
body. This hypothesis was not accepted by the mainstream Egyptology and
got criticized by several scientists mainly due to the inaccuracy of
correlations. On the other hand, the symbolism encoded in the Great
Pyramid of Giza is scientifically proven and much more vivid.
Sir Flinders Petrie was the first

Egyptologist to perform precision
measurements of the Great Pyramid.
His results were published in 1880-83
Figure 5 Phi (Golden Number) found in the Great Pyramid of
Giza (Source: Thelivingmoon.com)
as The Pyramids and Temples of Gizeh.

According to the outcome of the
study, the sides of the square base are closely aligned to the four cardinal
compass points based on true north. In addition to that, the ratio of the
perimeter to the height of the pyramid equals to 2 with an accuracy of better
than 0.05%. Finally, out of all the number systems and numerical
relationships that could have been used, the Egyptians selected the Golden
ratio and its square root in the geometry of the structure. Having a base of
230.4 meters and an estimated original height of 146.5 meters, the height to
base ratio becomes 0.636, which is equal to the Golden Number Phi with
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0.025% accuracy21. Petrie concluded that: These relations of areas and of

circular ratio are so systematic that we should grant that they were in the
builders design22. Furthermore, these facts lead to many other interesting
mathematical data depicted in the geometry of Khufus Tomb. The
significance of this ancient scientific knowledge is thus embedded globally
through the geometry of the architectural space.
1.3.3.
Deduction:
After analyzing the two given cases, we may now answer the questions
stated above concerning the nature of the symbolism and its purpose in these
ancient structures. There is enough data to let us determine the type of the
information embedded in the design of some pre-historic structures: Along
with religious meaning, it includes elements of mathematics, geometry and
astrology. Similar symbolism might be noticed in other structures of the time
around the world including many temples in Egypt for example. We may
thus note that scientific knowledge was encrypted behind many
architectural spaces of the ancient world since pre-history.
Examining and observing this knowledge seems to be intriguing,

putting in mind the supposedly religious and burial function of these spaces.
21
Meisner G, 2012. Phi. Pi and the Great Pyramid of Egypt at Giza, (Published on August 18,2012)
22
Petrie, 1940, 30
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Despite the continuous speculations surrounding the purpose of this

scientific symbolism in ancient religious structures, explanations exist.
Astronomy, for example, played an important role in the Ancient Egyptian
religion (for determination of festivals and the calendar)23. These
cosmological and universal constants were probably considered to be
sacred by some ancient civilizations. Hence, the symbolism referring to
them had great religious meaning and importance.
1.4. Appearance of Symbolism in Secular Architecture:

The symbolism behind the religious buildings continued to develop
and evolve further throughout history. In addition to the direct religious
symbolism hidden in the architecture of these structures, the cosmological
and geometrical significance (that we noted and discussed previously)
started to appear under the concept of the Sacred Geometry24. The notion of
Figure 7 The Colosseum in Rome (Source: Wikipedia.com)
Figure 6 Constantine's Arch in Rome (Source:

Wikipedia.com)
23
The Ancient Egyptian Book of Nut contains astronomical texts that links this knowledge to religion.
Calter P. Polygons, Tilings and Sacred Geometry. Retrieved on 21 November 2015 from
https://www.dartmouth.edu/~matc/math5.geometry/unit5/unit5.html)
24
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Sacred Architecture25, that implements such divine concepts, is still being

used in our days to describe religious and spiritual buildings. On the other
hand, the development of Symbolism in secular architecture stays unclear.
How did the meaningfulness of architectural space began to appear in
non-religious structures?
The exact moment of appearance of symbolism in secular structures is

very hard to determine. But the logic behind its appearance might let us
specify the circumstances that lead to this phenomenon. A careful look at the
history of architecture leads us to the idea that symbolism in non-religious
buildings could have been observed in structures of great importance. The
design of secular architectural spaces was implemented with meaning
when this space had priority and value in the eyes of the society or the
ruling class. In such important and often monumental structures,
symbolism was one of the main purposes and a part of the functional
program. Important secular spaces started to appear in ancient Greece, but
the most vivid and observable cases of symbolism in such spaces originated
in the Roman Empire. Two of the best examples describing this phenomenon
will be listed below.
25
Wikipedia: Sacred Architecture. Retrieved on 21 November 2015 from

(https://en.wikipedia.org/wiki/Sacred_architecture)
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Roman Triumphal arches are monumental structures in the shape of

an archway, with one or more passages. These monuments, symbolic in their
nature, were used to preserve and commemorate victories and important
events in the history26. Having a function close to memorial, the passage
through such arches was supposed to create an experience related to the
event that it is depicting.
Another example is the Colosseum, which is considered to be the

symbol of the city of Rome till our days. Also known as the Flavian
Amphitheatre, it was built around 80 AD to house gladiatorial contests and
public spectacles until the 6th century27. In addition to the special function of
the building, which was a place of gathering for citizens, the Colosseum had
to reflect the power of the Roman leaders of the time and to be monumental.
As a result, symbolism was embedded in the design of the elevation. The
faade was originally constituted from simple Doric columns at the ground
level, Ionic on the second and ornate Corinthian on the third. These three
orders were used as metaphors of the larger social structuring of Roman
society, from the nobility through the merchant classes28.
26
Sear F.B, John R, 2010

Building The Coloseum. Retrieved on 21 November 2015 from
(http://www.tribunesandtriumphs.org/colosseum/building-the-colosseum.htm)
27
28
The Colosseum Through Times: Functions and Symbols. (Published on May 13, 2009). Retrieved on 21 November
2015 from http://itopiarometheeternalcity.blogspot.com/2009/05/colosseum-through-times-functions-and.html)
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1.5. Languages of Symbolism:

The significance behind architectural spaces evolved into many
different forms and manifestations since its beginning until our days. After
clarifying the definition of symbolism in architecture and studying its
appearance in religious and secular structures, we may now ask ourselves
about the materialistic aspect of this hidden meaning. How can symbolism,
in the face of hidden ideas and concepts, be projected from the architects
mind into the third dimension? What are the communication methods
(languages) through which symbolism may be depicted in architectural
space? The study shows that there are three main communication mediums:
Material, Form and Light29.
1.5.1.
Material:
One of the most important mediums through which hidden meaning
may be translated is the material of the structure. This technique was widely
used by the ancient Egyptians. The solid stones were used to symbolize the
strength and eternity, which lead to using them in all important structures
including temples and pyramids. The mud and clay, on the other hand, were
used civil structures. In addition to the strength of the material, its surface
may play an important role. Sharp or bumpy surfaces symbolize
29
The philosophy behind the materials and forms was discussed by Richard Weston in his book: Materials, Form
and Architecture
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aggressiveness and add intensity to the visual effect. In contrast, smoothness

of the outer layer depicts calmness and brings relaxation30. Finally, the
translucency of the material might also carry a meaning: Transparent glass,
for example, symbolizes the transparency of the whole building and its
function. 31
1.5.2.
Form:
Geometrical form of the structure is the best platform for
implementation for certain mathematical constants and cosmological

information. Under the notion of form we mean not only the threedimensional shapes, but also the positioning and orientation of these shapes
and their relation with each other. In most buildings, this concept of
symbolic form might also include the structural elements such as walls,
columns, beams and slabs32. Some examples of the use of this medium were
discussed previously.
1.5.3.
Light:
Another very important medium of communication through which
hidden information may be translated is light. The contrast between the light
and the dark spaces, the casting of shadows and their movement across the
interior surfaces are all able to translate specific ideas and concepts. The
30
Weston, 2003, 158-169

Weston, 2003, 184-227
32
Weston, 2003, 36-65
31
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Newgrange case is a good example on the use of this medium. Despite the
fact that at first light and luminosity were only useful in religious and
astrological symbolism, in our days it may be manipulated to create specific
experience and atmosphere in the structure according to the intended ideas.
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Overview
As a conclusion to the chapter we may note that the main focus of

symbolism behind architectural spaces is the creation of experience of an
idea using different design and construction techniques. We were also able
to differentiate between the two different notions of Symbolism and
Representation, noting that in our research only the first notion is relevant.
The religious and scientific significance were both being implemented into
sacred structures since pre-history, evolving over time, until symbolism
reached the architecture of secular buildings.
In our days, symbolism in architecture became very broad in its

concepts and has taken many different forms. After clarifying all notions and
determining the origins, we may now jump to the contemporary times. The
next chapter will examine significance behind contemporary exhibitional
spaces.
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Philosophy of Space
Chapter 2:
SYMBOLISM IN CONTEMPORARY EXHIBITIONAL
ARCHITECTURE
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Philosophy of Space
Chapter 2
SYMBOLISM IN CONTEMPORARY EXHIBITIONAL

ARCHITECTURE
In order to understand the importance of symbolism in public exhibit

architecture, we should first define these spaces and determine their
characteristics. This chapter will study the creation process of the exhibit and
will concentrate on Museums in particular, before turning towards the
significance itself.
2.1 Creating the Exhibitional Space Exhibit Design:

The public and mainstream understanding of the notion of
exhibition usually refers to a place where some objects or information are
revealed before the audience. In reality, the concept behind these places is
much more complicated. In order to understand the contemporary
exhibitional architecture and the symbolism behind it, we must first
determine the characteristics of this exhibitional space. The best way to grasp
this idea is by defining the process through which these spaces are created.
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Philosophy of Space
Exhibit Design (or Exhibition Design) is the process of developing

an exhibit from a conceptual idea into the physical world. The resulting
three-dimensional exhibition is focused on initiating experiences for the
audience and telling a story through communicative environments33. We
might notice that this understanding of the Exhibit is, in many ways, similar
to the idea of symbolism in architecture. A direct link exists between the
definition of exhibit design, which is stated above, and the definition of
symbolism from the previous chapter: The use of symbolism is crucial in
Exhibitional Spaces. Despite of the variety of exhibit types, all of them aim
to send a message through engaging their audience in meaningful and
compelling interactions.
The Exhibit design is collaborative process that requires the integration

and simultaneous work of many disciples including Architecture, Landscape
design, Graphic Design, Lighting Design, Interior Design, etc33. Due to the
focus on experiences of the users of the space, different techniques must be
used in order to translate the message to the diverse audience. In addition to
the architectural techniques (some of which were noted previously),
supplementary methods of communication might be used including
technical equipment.
33
Dernie D, 2006
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Philosophy of Space
The success of the design in such spaces depends on the interpretive

plan which determines the most effective and most appropriate methods
for telling a story. The phase of establishing thematic directions prior to
programming of the three-dimensional space is very important. The trend
which is heading towards improvement of the visitors experience is mainly
relying on the new digital communication and interaction technologies.
Nevertheless, a smart and interesting architectural space is always an
irreplaceable factor in the process of initiating experience.
2.2
The Architecture of Museums Past and Present

The concept of a modern Museum was developed very recently.
Nevertheless its origins may be dated back to the classical period of the
ancient Greeks34. A brief look at the contemporary museology and the
planning of museums shows that currently new trends are being integrated
into the field. These ideas push us to ask ourselves the following questions:
How did Museums start and what are their origins? What is a
contemporary museum and what are the motives and desired goals behind
it?
34
Findeln P, 1989, 59-78
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Philosophy of Space
2.2.1 Origins and Description:

The etymology of the English word Museum returns its origins back
to the Greek language. It derives from the word Mouseion which meant a
place or a temple dedicated to Muses (the patron of divinities) in Greek
mythology of the arts. Henceforth, a museum was a building that was used
to study and contain arts. The Library of Plato (with exhibitional function) in
Athens is considered to be the first museum35. We might notice that the
original concept of this space was significantly different from the modern
understanding, which usually refers to an exhibit. In our days, these
exhibitional spaces are very numerous and widespread around the world,
each being specialized in a certain way. Some of the exhibits are physical,
while some of them are virtual36 and in many cases accessible through
different communication media or online. In their book An Intriduction to
the History and Function of Museums, Edward and Mary Alexander define a
museum as an institution with a function of collecting and conserving
artifacts and other objects of artistic, cultural, historical or scientific
importance and exhibiting them to the public audience37.
35
Llddell H.G, Scott R. A Greek-English Lexicon. Retrieved on 30 November 2015 from (http://www.perseus.tufts.edu)
Virtual Museums might be separate digital elements that function on their own, or might be complementary
items that enhance the experience of the physical museum.
37
Alexander E, Alexander M, 2008
36
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Philosophy of Space
According to this definition, museums serve as spaces that spread the

knowledge concerning different aspects of the human civilization and its
evolution. In other words, these spaces contain and expose information. In
the face of digitalization of the data and advancement of communication
technologies in the computer age, the way the information is presented in
museums had to change. New technologies permit us to install virtual
exhibits that use display and sound techniques to share information. In
addition to that, digital technologies allow the users to interact with the
exhibits that they are viewing and experiencing, thus making museums
equipped with such technology more dynamic. This fact permits us to
reformulate the previous definition in a more abstract way by saying that
museums are spaces that contain and expose data and information
(weather it was physical and solid or soft and virtual).
2.2.2 Purposes and Goals:

After defining the notion of museums and the origins of the idea, we
are now able to discuss their purpose. According to the definition, the main
motives behind the initiation of museum spaces can be noted. The primary
and direct purpose is always preservation and displaying of items and
information. The indirect purposes, on the other hand, are numerous and
depend on the point of view of the directing committee.
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Philosophy of Space
On one hand, a museum is an

entertainment place for the public. It is a
destination that many people choose
while seeking a place to spend time in. A
trip to the museum might be fun and
could, in addition to that, enlighten the
Figure 8 Guggenheim Museum in Bilbao which became
an important landmark and a public tourist attraction in
the city (Source: Wikipedia.com)
visitors. Many large and iconic museums

become touristic attractions either for
their architecture or for holding particular collections or expositions.

Guggenheim Museum of Modern and Contemporary Arts, which was
designed by Frank Gehry, is one of the best examples on an exhibitional
space that became a gathering place and a major attraction on an urban
scale38. Such museums target very wide and large audience inviting people
from different backgrounds and of different ages.
38
La exposicin ms vista en Espaa el ao pasado fue la de Yoko Ono en el Guggengheim. Retrieved on 7

December 2015 from (http://www.elcorreo.com/bizkaia/culturas/201501/02/guggenheim-supero-millonvisitantes-20150102132645.html)
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Philosophy of Space
On the other hand, in the eyes of

the
specialists
and
initiators
of
museums, the created exposition might

serve as a storehouse of knowledge. As
an example, in 1829 James Smithson
stated that he is establishing the
Figure 9 Interior of Canada Science and Technology
Museum (Source: lilahgrace.blogspot.com)
Smithsonian Institution for the increase

and
diffusion
of
knowledge39.
Museums not only collect and store items and artifacts, but also work on
educating the visitors, thus creating an educational goal of many museums.
This idea was adopted in 1970s by the Canada Science and Technology
Museum that favored education over preservation of their objects. In
addition to that, many museums of natural history in the late 19th century
concentrated on researches related to the items that are being exhibited.
Many large museums, until our days, are still considered to be respected
research centers. Hence, we can conclude, that museums might serve
preservation, educational and research purposes.
39
Smithson J. Smithsonian Institution. Retrieved on 30 November 2015 from

(https://www.si.edu/giving/giv_james_smithson.html)
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Philosophy of Space
2.2.3 Contemporary Museum Planning:

The process of initiation and design of museums has evolved through
the course of history, however the first crucial step was always the
determination of the mission. This mission embeds all the purposes behind
the creation of this exhibitional space. John Cotton Dana, museum founder
and librarian, is the initiator of the International Museum Planning
concept40. According to his beliefs, museum planning has to take into
consideration the needs of the community: The new museum Does not
build on an educational superstition. It examines the communitys life first,
and then straightway bends its energies to supplying some of the material
which that community needs, and to making that materials presence widely
known, and to presenting it in such a way as to secure it for the maximum of
use and the maximum efficiency of that use41.
The planning of the museums varies according to what items and

information they are going to house. Nevertheless, the priority in most cases,
is given to the accessibility of the visitors and to the display of the collection.
In general, the methods and guidelines used in Exhibit Planning mostly
apply in the planning of contemporary museums. The interpretive
museums (as opposed to ordinary art museums) have a mission of reflecting
guidance through the subject matter which may include graphical images,
40
41
Dana, 1917, 25
Dana, 1917, 32
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Philosophy of Space
audio and visual effects and interactive exhibits. Contemporary museums

may be characterized by their tendency towards creation of an enhanced
experience for the audience and the use of all available technical
equipment to achieve this goal, including virtual and interactive exhibits.
This method of enhanced experience becomes crucial in some

museums that contain few or no physical artifacts. The translation and
interpretation of a strong and memorable storyline or other types of
information, in interpretive museums focusing on experience instead of
relying on materialistic items, becomes a necessity. Most notable examples
on such exhibitional spaces are the Griffith Observatory in Los Angeles42 and
the National Constitution Center in Philadelphia43.
2.3 Appearance and Manifestation of Symbolism in Contemporary

Museums:
After speaking about the definition of museums and their purpose, we
may clearly note that experience is a very important element in the
contemporary museum planning. This means that the use and implication of
symbolism into the architecture of these exhibitional spaces becomes a must
that cannot be ignored. Modern museums are beacons of knowledge and
42
43
Griffith Observatory. Retrieved on 7 December 2015 FROM (http://griffithobservatory.org/)

National Constitution Center of Philadelphia. Retrieved on 7 December 2015 from (http://constitutioncenter.org/)
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Philosophy of Space
carriers of certain information, whether their main purpose is entertainment

or public awareness about a specific topic. Translation of knowledge and
ideas in interpretive museums is possible through symbolism that can be
implemented in the architecture of these structures.
Trying to trace the exact origins of symbolism in contemporary

museums and exhibitional spaces in general might be difficult but we can
suppose that, in various degrees, significance and hidden meaning were
present there since the very beginning. This is due to the fact that these
spaces have a primary function of spreading knowledge and ideas (artistic,
scientific, historical or cultural) and symbolism is one of the main assistants
in this mission. The primary purpose of the exhibit is itself symbolic.
Curtis L. Carter claims: Some would say that museums have become
the contemporary equivalent of cathedrals and civic architecture of the
past44. This argument might seem true to some degree, putting in mind the
importance of contemporary exhibitional spaces and their functional
purpose. In his publication, Symbol and Function in Contemporary Architecture
for Museums, he studies the relation between the functionality and the
symbolism in such spaces. The emphasis was made on the idea of equal
44
Carter C, 2010
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Philosophy of Space
importance of the two aspects symbolism of the form should not be made
at the expense of functions of the building. According to this concept, a
museum should not turn into a massive structure that is unable to perform
its primary task The meaning and significance should be implemented
without disturbing the functional program.
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Philosophy of Space
Overview
Summarizing this chapter, we may note that the use and

implementation of symbolism into the design of contemporary exhibitional
spaces (and Museums in particular) has its benefits. Hidden significance
related to the main theme in the architecture of the Museums is able to
intensify the experience of visitors, which increases the quality of the exhibit
space and adds to its value. This fact makes the integration of underlying
concepts behind the structure a main requirement for success of the exhibit
in its mission.
To clarify the main ideas stated previously, the next chapter will
analyze study cases of Museums that are implemented with symbolism in
their design.
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Philosophy of Space
Chapter 3:
CASE STUDIES
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Philosophy of Space
Chapter 3
CASE STUDIES
Many contemporary museums are implemented with hidden meaning

behind their structure to some degree. Yet, for our research, we must choose
the most suitable examples on such buildings to support and extend our
understanding of the topic. In this chapter, we will analyze study cases of
museums that have vivid and graspable symbolic architecture.
3.1
Jewish Holocaust Museum in Berlin:

The
extension
of
the
Berlin
Holocaust Museum, which was opened

in 2001, made this exhibit one of the
largest Jewish museums in the world. Its
exterior and the interior spaces contain
Figure 10 Jewish Holocaust Museum in Berlin - Bird Eye
View (Source: www.buisinessinsider.com)
numerous hidden messages that were

implemented by the architect Daniel
Libeskind45. The carefully designed architectural elements made the

museum rich in symbolism relating to the history of the Jewish people in
45
Additional data, photos and architectural drawings may be found in the annex
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Philosophy of Space
Berlin during and after the Second World War and to the tragedies of the
Holocaust46.
The projects concept is derived

from an abstracted Jewish Star of David
that is stretched around the site and
surroundings47.
The
form
was
generated by connecting the lines

between locations of historical events in
Figure 11 Matrix line on the facade of the museum
(Source: www.pintrest.com)
Berlin and the extrusion of those lines

in a zig-zag structure. Similarly, the
positioning of the windows and openings (in the shape of narrow slits that
remind us of deep scars) on the plane zinc coated faade follow the same
well-defined matrix48. The use of Zinc alloys as the main material in the
exterior has its own symbolism: This material has a long tradition in Berlins
history and architecture. The untreated zinc and titanium panels, as intended
by design, will oxidize over time and change color due to the environmental
factors48.
46
The Holocaust was a genocide during the Second World War in which almost 6 million Jews were killed by Adolf
Hitlers Nazi regime.
47
Kroll A. AD Classics: Jewish Museum, Berlin / Daniel Libeskind. Retrieved on 5 December 2015 from
(http://www.archdaily.com/91273/ad-classics-jewish-museum-berlin-daniel-libeskind)
48
The Libeskid Building. Retrieved on 5 December 2015 from (http://www.jmberlin.de/main/EN/04-About-TheMuseum/01-Architecture/01-libeskind-Building.php?exp=,1,#h5-1)
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Philosophy of Space
Significance
and
meaning
are
deeply implemented in the interior space

in a very vivid way, creating a realistic
experience that cannot be seen or felt
from outside the structure. The new
building can only be reached through an
underground passageway from the old
Figure 12 Staircase at the end of the "Axis of Continuity"
leading to the exhibitions (Source: www.jmberlin.de)
museum. On the way down the staircase,

the visitors are able to experience the
great void one of the six hollow spaces in the structure. The void, which is
not really a museum space49, represents the central structural element with
bare concrete walls. All voids are not heated or air-conditioned and are
largely without artificial light, with only small upper openings for
daylighting. As Libeskind explains, the Museum's Voids refer to "that which
can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to
ashes."49
At the end of the staircase, the people reach a path system made up of
three axes resembling three realities in the history of German Jews. The first
Axis of Continuity connects the old building with the main staircase and
represents the continuation of the Jews history in Berlin. The main staircase
49
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Philosophy of Space
is a prolongation of the corridor and leads to the third floor of the exhibitional
space straight from the underground in the same narrow path. The oblique
and numerous structural columns seem to be holding the passage open with
a great effort. This symbolizes the difficulty of reaching the bright light after
the deep terror.
Next is the Axis of

Migration
that
leads
outside to the Garden of

Exile. The passageway to this
garden has slanted walls that
get closer the further one
Figure 13 The tower of the Holocaust and the Garden of Exile (Source:
libeskind.com)
goes
while
uneven
the
and
floor
is
ascends
gradually. Behind the heavy door lies the green exterior space with 49
concrete pillars standing on a square grid plan (7 by 7)50. Inside 48 of these
pillars lies Berlins soil while one of them contains soil from Jerusalem51. The
whole space is on a 12 degree gradient which works on disorienting visitors
and destabilizing them resembling the lack of orientation of those escaping
Germany. Russian willow oaks on top of the piles were used to symbolize
hope. The garden is still dug into the ground and the space is surrounded by
50
51
The square shape and the number 7 both carry religious symbolism for the Jewish people.
Riding A, 1998
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Philosophy of Space
strong concrete walls, so the visitor has no other choice but to return back to
the main axis. This element symbolizes the idea that the escape into free air
is an illusion and exile is also a form of imprisonment.
The final Axis of Holocaust leads to

narrowing spaces that become darker as one
passes further. It leads to the Holocaust Tower
that resembles the dead end and houses and
exhibition of documents and belongings of the
victims. The three Axis intersect symbolizing
the connection between the three paths of Jews
in Germany.
Figure 14 The Tower of the Holocaust from the
interior (Source: libeskind.com)
At the end we may note that after the construction was completed in
1999, the museum was open to visitors unofficially with no exhibitions inside
of the main halls. There was still nothing to display at the moment, yet
350,000 visitors came to witness the museum space52. Many people claimed
that they came for the architecture itself and liked the space the way it is,
without display items.
52
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Philosophy of Space
3.2
Louvres Entrance Pyramid Complex:

I.M. Peis 1989
design
Pyramide
for
the
du
Louvre at the historic

Louvre Palace in Paris
serves as an entrance
Figure 15 Louvre's main building and the entrance pyramid (Source:
www.architecturerevived.com)
hall for the museums
exhibitional space. After descending underground from the pyramid,

through a spiral staircase, the visitor reaches a distributing space that
connects the different museum sections from below. The main pyramid,
surrounded by three miniscule similar copies, is followed by another
inversed pyramid, smaller in size, which is used as a light well for the mall
below the surface. Both pyramids are built of steel and glass, thus being
translucent and combining modern architecture with a very classical
geometric form. Since its erection, the new structure became a landmark for
the city of Paris53.
53
Simsons M, 1993
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Philosophy of Space
Similar to the great pyramid of

Giza, Louvres
entrance pyramid
implements the Golden Ratio as a

basis for the size and certain relations
with the surroundings54. The slope of
the pyramid is at 51 degrees (varying
very slightly from the one in Giza),
Figure 16 Golden Proportions at the Louvre (Source:
while the procession into the front

descending down also follows the
same rules55. The historical reference to the Egyptian pyramids is very vivid
here, putting in mind the function of the museum that exhibits different
items relating to many ancient civilizations. It appears to be a starting point
of the journey into time. On the other hand, speaking about the form, I.M.
Pei stated: Formally, it is the most compatible with the architecture of the
Louvre..., it is also one of the most structurally stable of forms, which assures
its transparency, as it is constructed of glass and steel, it signifies a break with
the architectural traditions of the past. It is a work of our time.
Despite the fact that the architect officially doesnt mention any
intended symbolism in the structure, clear resemblance to the Great Pyramid
54
Souza E. Ad Classics: Le Grande Louvre /I.M. Pei. Retrieved on 7 December 2015 from
(http://www.archdaily.com/88705/ad-classics-le-grande-louvre-i-m-pei)
55
Blankenbehler B, 2015.
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Philosophy of Space
Figure 18 Spiral staircase and straight staircase shown in

the interior (Source: www.architecturerevived.com)
Figure 17 The inversed Pyramid from the interior (Source:

and Golden Mean can be observed according to the data above. Moreover,
this is not the only theory regarding the significance in Peis project. Relying
on the architects sketches and personal research, Benjamin Blankenbehler
has posted an article suggesting the presence of additional symbolism in the
main design55.
In his article Symbolic Meaning of the Louvre, Paris France,

Blankenbehler notices a symbolism relating to the ancient concept of
gender56. Considering that the circle is traditionally female, while the square
is male, the inverse pyramid that is bounded by a circle thus appears female
while the larger upright pyramid is male, being bound by a square in the
mass plan. Taking into account that the inverse pyramid is surrounded by
living vegetation and the upright by fluid water, the metaphor is
strengthened even further. This is due to the fact that Egyptians believed the
waters of chaos must be crossed in the afterlife, and this is why they placed
56
Additional data, photos and explanatory diagrams included in the article, may be found in the appendix
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Philosophy of Space
their funeral upright pyramids near the river Nile. The male was related to
death while the female counterpart was resembling life, which explains the
vegetation in the inversed pyramid. The interior space also supports this
gender concept where two staircases exist, the spiral stairs (resembling
female) and the straight one (pointing to the male essence).
The contrast between the female and male is thus proceeded by the
idea of life and death. The above-ground and underground manifestations
develop this concept even further, where the water fountains of the entrance
pyramid reflect the blue sky and the pyramid itself on the surface suggesting
an inverse relationship. This forces the visitors to investigate and examine
natures opposites. The perfect proportions, perfect shapes and natural
opposite relationships make the audience visiting the Louvre museum
experience the natural law. The summation of all this significance brings us
to the essential cosmological and natural concept relating to the world we
live in. Blankenbehler has noted additional theories relating to this natural
symbolism57, but the examples and explanations stated above are the most
vivid.
57
Blankenbehler noted additional theories regarding the astrological and historical symbolism of the complex,
relating the axis of the summer solstice, Keplers Zodiac and the historical axis of Paris to the position of the
pyramids on the plan. Further information may be found in the appendix.
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Philosophy of Space
3.3
Musee du Quai Branley:

The Quai Branley Museum in Paris
was opened to public in 2006, featuring the
indigenous art of cultures of Africa, Asia,
Oceania and the Americas58. Housing a
collection
with
tribal
themes,
the
requirements of the exhibitional space were

all pointed towards a specific symbolic
experience. This is a museum built around
a specific collection, where everything is
Figure 19 Quai Branley Museum Site Entrance
(Source: www.jeannouvel.com)
designed to evoke an emotional response to

the primary object, to protect it from light,
but also to capture that rare ray of light indispensable to make it vibrate and
awaken its spirituality. In a place inhabited by symbols of forests and rivers,
by obsessions of death and oblivion, it is an asylum for censored and cast off
works from Australia and the Americas. It is a loaded place haunted with
dialogues between the ancestral spirits of men, who, in discovering their
human condition, invented gods and beliefs. It is a place that is unique and
strange, poetic and unsettling.59
58
Quai Branley Museum France on Jean Nouvels Official Website. Retrieved on 9 December 2015 from
(http://www.jeannouvel.com/en/desktop/home/#/en/desktop/projet/paris-france-quai-branly-museum1)
59
Musee Du Quai Branley official website. Retrieved on 9 December 2015 from
(http://www.quaibranly.fr/en/public-areas/an-architecture-for-a-dream/)
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Philosophy of Space
This experience may be felt

right after making the first steps
into the grounds of the museum
site. The landscape of the entrance
garden, which can be seen from
the street, is composed up of dense
and tall exotic vegetation that
Figure 20 Contrast of the outside brightness and interior darkness
(Source: www.jeannouvel.com)
restricts the view and reminds the

visitors
of
forest.
While
approaching the building and seeing its features that appear gradually
behind the green bushes and trees, people start to feel like explorers that are
craving for a new discovery. Being suspended on columns, which are
blended into surroundings, the structure seems to be elevated over the
ground reminding the audience of tree houses and vernacular architecture.
The multicolored boxes in the main elevation resemble suspended huts from
different cultures, thus forming a feeling that the building is similar to a
shelter in the middle of the woods60.
The interior space and circulation are similarly very significant61.

Before entering the exibitional halls, the visitor has to pass through a
60
61
Additional photos and architectural drawings may be found in the appendix.
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Philosophy of Space
curvilinear free-form ramp that leads from the ground level to the main
upper floor. It represents the beginning of the journey and the travel of
explorers between four different continents. The ramp is divided into three
phases by different curvatures, each consecutively symbolizing transition,
transformation and overture62. A moving stream of words and signs
from different cultures, a digital artistic installation called "The River"63,
flows down the winding ramp leading from the entrance of the museum to
the main galleries. The way in which these signs move is designed to
captivate the visitor, who is encouraged to imagine relationships between
the symbols, to bring them together, interpret and dream about them. The
installation is accompanied with various sound effects according to the
phases that visitors have to pass through. Following the ramp, people have
to pass through a black tunnel, symbolizing transition into another world64.
At the end of this tunnel, visitors reach the equidistant center of the
exhibition, which provokes the feeling of being in the center of the world.
This element also emphasizes on the idea of cultural diversity and equality
that the museum is trying to propagate. The haunting atmosphere,
developed in the interior of the primary exhibit hall, refers to the tribal
concepts and their religious beliefs regarding death and oblivion. Statues,
Symbols, Totems and other items present in the collection are accompanied
by a dark mood with few light sources which enhances the experience of the
62
Launay, 2007, 56
64
Launay, 2007, 55
63
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Philosophy of Space
visitor and emphasizes on each individual artifact. The interior space is

coded with different colors, each of them resembling a specific continent. Red
standts for Oceania, orange for Asia, yellow for Africa and blue for America.
This coloring of zones permits the visitor to easily navigate in the exhibitional
space and facilitates the distinction between zones of the open space.
Jean Nouvel proposed a singular architecture for singular objects65.

Everything is curved, fluid, transparent and mysterious, to better serve the
institutions primary mission: to build bridges between cultures, to incite
curiosity and to meet the expectations of different audiences. In this open
space of 10,000 m2, which houses permanent and temporary exhibition areas,
windows are replaced by glass walls. The transparent effects and the natural
backdrop created by the trees convey an unprecedented impression of visual
freedom. Visitors move through the spaces unobstructed, without direction
or hierarchy, protected by subdued lighting which presents the works in
their own intimacy. Adding to this experience, randomly placed pillars are
blended into the exhibit space and can easily be mistaken for totems or
artifacts.
65

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Philosophy of Space
The
idea
of
dematerialization66
was
considered to be primary and

essential by the architect. The
elements
of
the
exhibitional
space had to visually regress and

leave the attention of the visitors
Figure 21 Dematerialization of the interior space (Source:
www.jeannouvel.com)
to the collection itself. In order to

achieve this, the solid elements
had to somehow vanish and disappear before the sacred objects so that the
visitors could enter into communion with them. This was a challenge to the
current western creative expressions. All mechanical and technical items,
structural elements, false ceilings, parapets and emergency staircases had to
be hidden from the view of the audience. The visual intervention thus had to
be minimal: The collection had to speak for itself and be experienced, and all
means had to be used in order to amplify this experience.
At the end, we can note that the best expression that is able to interpret
the design of this museum space is: An Architecture for a dream. The
whole architectural composition, including the exterior landscape, works on
forming a very intense experience a dream-like journey into cultural
66
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Philosophy of Space
diversity. Every element of this rich and carefully designed space pushes the
visitors towards discovery while moving the focal point from the
architecture to the exhibited collections.
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Philosophy of Space
Overview
In the third chapter, which includes three study cases, we were able to
note the use of symbolism in contemporary museum spaces as a tool for
enhancing experience. In the Berlin Holocaust museum, where the emphasis
was made on architecture itself, one might observe clear structural
significance of the building that becomes the center of the exhibit and the
main theme. The entrance pyramidal complex of the Louvre museum, on the
other hand, embodies symbolism that is hard to decrypt and grasp for the
general public. Being deeply hidden behind the forms, shapes and
landscape, the cosmological and universal meaning in this complex have the
function of provoking curiosity in the minds of the visitors. Finally, the case
of the Quai Branly Museum is a great example on an exhibitional space
where architectural symbolism works as a supportive mechanism and an
extension for the exhibited collection. In this museum, the significance and
philosophy behind the structure of the building are catalysts of the
mysterious and dreamy atmosphere that the artifacts emit. The analysis of
study cases provided us with a sufficient background regarding the different
methods of embedding symbolism in the architecture of contemporary
museums and the purposes behind it. After collecting all the data from
previous chapters and analyzing it, we may now draw a conclusion and
propose the architectural project emerging out of the main theme.
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Chapter 4:
INTENDED PROJECT HISTORY OF NATURAL
SCIENCES MUSEUM
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Chapter 4
INTENDED PROJECT HISTORY OF NATURAL SCIENCES

MUSEUM
In this section of the report, the intended project and its main idea will
be discussed. The proposed function and goal of the architectural project are
derived directly from theme of Symbolism in Exhibitional Space.
4.1
Purpose and Main Idea:

The choice and determination of the project emerging out of this topic
doesnt seems to be difficult after looking at the results of this research. As a

primary objective, it should provide the function of an exhibitional space
with an emphasis on the hidden meaning behind its architecture. An
experiential museum may be proposed as a very suitable application for the
concepts presented throughout this study. Yet, choosing the function of the
project is not enough. The main theme of the exhibition has to be determined.
An experiential museum may embrace numerous concepts, but all of

them will have to refer to the general theme of the exhibit. At this point, the
choice of a suitable and appropriate theme becomes a necessity. It has to be
attractive, informative and at the same time interesting for the general
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audience. The project has to become an attraction point in the area to

function correctly Interaction of visitors with the architectural space and
the exhibit is very important. Implementing a simplified groundbreaking
cosmological idea might come to mind. History of Natural Sciences
Museum seems to be a feasible and an appropriate project emerging from
the topic. The history of sciences and different scientific concepts may be
translated into the architecture of the structure where the visitor is able to
experience the evolution and development of natural studies and their
applications.
Scientific discoveries and the evolution of sciences may be considered

as one of the main factors that affected the development of societies and the
humankind throughout the course of history. The critical points of the
scientific development were crucial historical moments which altered the
history of the civilizations dramatically. In our days, the sciences have
advanced and evolved into very high levels: new concepts of universal laws
and mechanics have raised curiosity among ordinary people that have been
intrigued by the interesting facts and theories about the universe that we
exist in. From here comes the idea of initiating a complex of public space that
would serve as a monumental museum that depicts the timeline of history
of sciences in terms of architecture (in the language of architectural
elements). The main distinction of this museum from ordinary museums
would be that the focus of the exhibition would not be the artifacts and
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materialistic information carried through conventional media (although it

will also be present), but the architectural elements of interior and exterior
spaces and their combinations that will translate the timeline of sciences into
the language of architecture.
4.2
Program and Spaces First Proposal:

The basis of the functional program that was proposed relies on the
historical timeline of history of natural sciences. The main exhibitional space

is divided into different zones which depict specific historical periods. We
should note that this proposal may be altered during the final project design
phase. The proposal may be noted as follows:
Early Cultures Period Zone 600 m2

- Main Hall
- The Cornerstone of Mathematics
- Egyptian Sciences
- Mesopotamian Sciences
- Chinese Sciences
- Indian Sciences
- Greek Sciences
i) Main Space
ii) Socrates and Platos Room
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iii) Aristotles Room

Middle Ages of Science Zone 400 m2
- Buffer Space
- Islamic Sciences
- European Sciences
Scientific Revolution Zone (Entrance of the Exposition) 700 m2
- Hall of the Revolution
i) Galileos Room
ii) Isaac Newtons Room
- Hall of Purification (Scientific Method)
Age of Enlightment Zone 400 m2
- Buffer Zone
- Hall of Reason
- Hall of Machinery (Industrial Revolution)
- Grounds of Gravity
Modern Natural Sciences Zone 1200 m2
- Buffer Zone
- Hall of the Earth
i) Chamber of Biology
ii) Chamber of Physics
iii) Chamber of Chemistry
iv) Chamber of Earth Sciences
- Hall of the Universe
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i) Chamber of Astronomy
ii) Chamber of Theoretical Physics and Mechanics
iii) Labyrinth of doubts
Age of Might and Power (19th and 20th Century) Zone 700 m2
- Buffer Zone
- Hall of Nikola Tesla
i) Teslas Room
ii) Field of Electro-Magnetism
iii) Chamber of Communication
- Hall of Albert Einstein
i) Einsteins Room
ii) Field of Relativity
iii) Chamber of Energy
- Hall of Atomic Energy
- Bunker of Instability
Contemporary Age Zone 800 m2

- Buffer Zone
- Hall of Wonders
- Planetarium
- Stairway to the Skies (Observation Tower)
Main Entrance Lobby 100 m2
Services and Technical Space of the Exhibit 300 m2
Administration 250 m2
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Ticketing Office 50 m2
Large Auditorium 500 m2
Educational Block 700 m2
- 5 Small classes for Lectures
- Conference Room
- Bookshop
Cafeteria 400 m2
Gift shop 250 m2
Roof Restaurant 500 m2
Exterior Extension Spaces 1000 m2
Storage and Technical Spaces of the Site 400 m2
Total = 9250 m2
4.3
Chosen Site and Analysis:

The project site is located in Zouk El Khrab district nearby the
historical heritage area of Nahr El Kalb. The Location is strategic due to

the fact that it is right above the highway between Jouniye and Dbaye. It
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Philosophy of Space
resides on three lots: 575, 579, 534 and 535 which are only partially taken. The
total area of the taken land is equal to 20089 m2.
Figure 22 Location of the Project Site
Site Location Analysis:

Access and Roads: The Site is easily accessible from both directions of
the highway due to the presence of a nearby traffic interconnecting
link. A few hundreds of meters separate the site from the highway link
through a secondary road leading to the residential cluster.
Climate: The Climate at the site is Mediterranean and Humid due to
fact that is facing the sea. The site is exposed to wind currents.
Surroundings: The site is located close to the historical monuments at
Nahr El Kalb. Residing between Jouniye and Dbaye, the site is
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Philosophy of Space
surrounded by two major cities. The area contains many hotels

including Le Royal. The site itself is not closely surrounded by any
constraints although a set of residential buildings are lying to the South
and East of it. The highway is located to the West, right below the sites
landscape.
View: The Site has unconstrained view of the sea from the west, the
local power station and parts of Kaslik from the North and the Skyline
of Beirut from the South.
Figure 23 Accessibility Study of The Site
SWOT Analysis:
Strengths: The sites ease of accessibility and location near the capitol
are a major positive point. Moreover, the site has unconstrained view
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Philosophy of Space
from 3 directions including the

view of the sea and Beiruts
skyline. The absence of strong
surrounding constraints is also
appealing.
Weaknesses: The site is right
Figure 24 View from the Site overlooking the sea
above
the
highway
which
means that it is exposed to

some
noise
and
sound
pollution.
Opportunities:
topography
and
The
sites
variable
landscape may permit us to

Figure 25 Location of the site above the highway and open view
design more interesting and
appealing spaces. The unobstructed views may add value to the overall
design. The site is eligible for holding a monumental landmark
building such as a contemporary museum.
Threats: The site is subjected to wind currents and thus the project has
to take that into consideration. Moreover, the presence of the nearby
historical monuments should be noted. The project should not interfere
with the existing heritage.
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Philosophy of Space
Overview
In the fourth chapter, we have described the project that is intended to
be designed, proposed a preliminary program of spaces (that most probably
will be altered in the final design phase) and chose the site for the building.
At first glance, it might seem that the choice of site is somehow arbitrary and
that it is not completely compatible with the given theme of the project. The
real reason for choosing this site in particular will be discussed in the
conception phase of the following chapter.
The final outcome of this thesis report The Final Project will be
presented in the final fifth chapter.
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Chapter 5:
CONCEPTION AND FINAL PROJECT
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Philosophy of Space
Chapter 5
CONCEPTION AND FINAL PROJECT
Figure 26 Entrance View of the Project
History of Natural Sciences Museum is an innovative experiential

exhibition space, the main goal of which is the translation of the timeline of
scientific history and initiation of curiosity in the minds of the visitors.
Located near the historical heritage site of Naher El Kalb, the proposed
museum is integrated into the surrounding context not only through the
chosen historical theme of the exhibition, but also through the guidelines of
the designed architectural space.
The main conception of the project is based on the nearby heritage site - The
memorial rock reliefs that were erected in different ages. As the historical site
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Philosophy of Space
Figure 27 Historical Heritage Site of "Naher El Kalb" (Source: Wikipedia.com)
is composed of a pedestrian pathway through numerous Stelae with

inscriptions which commemorate the history of the area, the museum will
serve as an additional element in the existing series. The main exhibitional
mass of the museum depicts a Stella that contains information regarding the
natural science history, which will be translated in the interior space through
digital exhibits and the architectural elements themselves. The approach of
the museums entrance is covered with an atmosphere of mystery, where a
maze resembling the early cosmological thoughts greets the visitor. In order
to solve this mystery, the Truth Seekers have to descend to the lower floors
through a large twisted entrance ramp that will lead them to the pathway of
scientific history from the source of reasoning to the contemporary age.
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Philosophy of Space
Figure 28 The Prism of Reasoned Thoughts
It is a known fact that square and rectangular shapes were used to symbolize
knowledge since ancient times. As a guideline for the interior space, a glass
prism is installed above a point of singularity which symbolizes the source
of all sciences - Reasoning and logic. The shape is derived from a square
plane and a single point in three dimensional space, which together form a
prism of Propagating Enlightment. The enlightment traverses different
stages of scientific evolution through the voids carved in each floor.
Following this guideline, the Truth Seekers will pass through every age
and roam through the historical timeline discovering all the main concepts
and ideas. Let the Journey begin!
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Figure 29 General Views of The Project Site
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Figure 31 Night View of The Project Site
Figure 30 Entrance View of The Project Site
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Figure 33 Scientific Revolution Zone
Figure 32 Prism and Singularity of Reasoning Zone
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Figure 35 Labyrinth of Thoughts Leading to The Prism
Figure 34 Age of Enlightment - Zone of Gravity
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Figure 36 Zone of Modern Sciences
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Figure 37 Surroundings and Mass Plan
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Figure 38 Legend of The Plans' Exhibit Zones Color Coding
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Figure 39 Level Plans (Part 1)
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Figure 40 Level Plans (Part 2)
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Figure 41 3D Stacked Plans View with The Visitors Circuit Directions
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Figure 42 3D Section of The Main Exhibitional Mass with The Visitors Circuit Directions
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Figure 43 Sections
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Figure 44 Rendered Elevations
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Philosophy of Space
CONCLUSION
Throughout the research above, we were able to tackle all the main
ideas and arguments that were related to the chosen theme. The questions
that were previously stated at the beginning have all found their appropriate
answers. Ultimately, on the other hand, this does not mean that the answers
that emerged out of this research are the only ones valid. As it was noted
before, the path undertaken in studying this topic will always be subjective
to some degree. There is no one certain and widely accepted definition for
symbolism in architecture. Similarly, a single defined method for embedding
hidden meaning behind architectural spaces does not exist. Even the
impressions and interpretations of this symbolism are subjective and only
unique to the perception of the observer. Meaningful significance of physical
spaces, and exhibitional spaces in particular, has no certain beginning and
no unified end-result. All this pushes us to state and accept that there might
be other paths that could have been taken, just as there might be other valid
and clear answers to our questions. The aim in such situation was to stay
objective as much as possible and to responsibly search for definitions,
explanations and supportive examples. Being carefully chosen, the
undertaken path was traced as a continuous thread through the three main
chapters.
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Philosophy of Space
At the beginning, we have discussed the concept of symbolism in

architecture and linked it primarily to the experience of space. The
significance behind form, materials and light exposure was supposed to
create a certain feeling or sensation for the audience a sensation of a
conceptual idea that the architect wanted to deliver. The prevailing
atmosphere, formed by all of the architectural elements combined, is able to
hold a specific theme. This was defined to be very useful for the
contemporary exhibitional spaces. For experiential museums, that contain
few or no collection items, symbolic space may enhance the sensations of the
visitors and take them deeper into the intended mood. The methods used to
reach such an atmosphere may include a careful and conceptual design of
the interior and exterior spaces accompanied by a correct choice of materials.
To enhance the experience even further, digital technical equipment may be
summoned to place numerous interactive installations and alter the artificial
lighting. These methods and techniques might be clearly observed after
analyzing the three study cases. As a general outcome, the final project was
formed.
At the end of the research we may note that this study is not a complete
and omnipotent manifesto that totally describes the topic, but it is a solid and
logically structured contribution to the vast ocean of concepts surrounding
architectural symbolism. Similarly, the designed experiential museum and
its subjective translation of the scientific timeline and its concepts, is not the
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Philosophy of Space
only true and perfect solution for the given thematic background. The quest
for greater understanding doesnt end here it is ongoing and seems to be
fueling researchers in pursuit with uplifting curiosity
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Appendix 1
Jewish Holocaust Museum in Berlin
Figure 49 Bird Eye View of the Museum Site (Source: Libeskind.com)
Figure 47 Intersection Point of Axes (Source: Libeskind.com)
Figure 46 New extension building next to the old museum building

(Source: Libeskind.com)
Figure 48 One of the Voids of the Museum with an artistic installation (Source:
flyingoranges.com)
Figure 45 Inside the Garden of Exile

(Source: Pinterest.com)
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Figure 50 Plans of the Building (Source: wordpress.com)
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Figure 51 Lower Level Navigation Plan (Source: wordpress.com)
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Philosophy of Space
Appendix 2
Louvres Entrance Pyramid Complex
Figure 53 View of the pyramidal complex with surroundings (Source: pinterest.com)
Figure 52 Reflection of the pyramid and surroundings on water (Source:

darkparis.com)
Figure 55 Interior hall under the entrance pyramid (Source:

pinterest.com)
Figure 54 Blankenbehler's theory regarding the alignment of the complex with the historical axis of Paris
and the axis of summer solstice (Source: architecturerevived.blogspot.com)
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Philosophy of Space
Figure 57 Blankenbehler's theory relating the landscape plan of the main pyramid to the Kepler's Zodiac, thus noting astrological
symbolism (Source: architecturerevived.blogspot.com)
Figure 56 Blankenbehler's theory relating the planning of the pyramidal complex with accordance to the Kepler's Eye (Source:
architecturerevived.blogspot.com)
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Philosophy of Space
Appendix 3
Musee du Quai Branley
Figure 62 Street view of the museum (Source: jeannouvel.com)
Figure 60 Extension spaces (Source: jeannouvel.com)
Figure 61 Rear elevation (Source: jeannouvel.com)
Figure 59 Entrance ramp leading to the exhibition (Source:

jeannouvel.com)
Figure 58 Distinction of spaces by coloring (Source: jeannouvel.com)
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Philosophy of Space
Figure 65 Main Elevation (Source: jeannouvel.com)
Figure 64 Main Section (Source: jeannouvel.com)
Figure 63 Main exhibition level plan (Source: jeannouvel.com)
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REFERENCES
Books:
- Alexander E, Alexander M, 2008. Museums in Motion: An Introduction
to the History and Function of Museums. Lanham.
- Brennan M, 1994. The Stones of Time: Calendars, Sundials and Stone
Chambers of Ancient Ireland. Vermont.
- Cassierer E, 1953. The Philosophy of Symbolic forms (Volume 1). New
Haven.
- Dana J.C, 1917. The New Museum. New Yorkshire.
- Dernie D, 2006. Exhibition Design. New York.
- Eisenman P, 1998. The End of the Classical: The End of the Beginning,
the End of the End in Architecture Theory Since 1968. Cambridge.
- Flinder Petrie W.M, 1883. The Pyramids and Temples of Gizeh. London.
- Flinder Petrie W.M, 1940. Wisdom of the Egyptians. London.
- Grin J, Gorin S, Fleming N, 2001. The Archaeology Coursebook: An
Introduction to Study Skills, Topics and Methods. London.
- Moffet, M. Fazio, M. and Wodehouse, L. 2003. A World History of
Architecture. London.
- OKelly, Michael J, 1982. Newgrange: Archaeology, Arts and Legend.
London.
- Tschumi B, 1998. The Architectural Paradox in Architecture Theory Since
1968. Cambridge.
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- Weston R, 2003. Materials Form and Architecture. London
Articles:
- Blankenbehler B, 2015. Symbolic Meaning of the Louvre, Paris France.
(Published on August 23, 2015)
- Carter C, 2010. Symbol and Function in Contemporary Architecture for
Museums. (National Technical University of Athens)
- Findeln P, 1989. The Museum: Its Classical Etymology and Renaissance
Genealogy. (University of California, Berkley)
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des identits par la mdiation musale. (Mmoire de fin dtudes,
Universit Lumire Lyon 2.) Retrieved on 11 December 2015
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(Published on August 18,2012)
- Riding A, 1998. Now Practicing What He Preaches; Jewish Museum in
Berlin Is a Noted Architect's First Building. (The New York Times, 17
March 1998)
- Sear F.B, John R, 2010. Triumphal Arch. (Oxford Art Online, July 30,
2010)
- Simsons M, 1993. 5 Pieces of Europe's Past Return to Life: France; A vast
new exhibition space as the Louvre renovates. (The New York Times, 28
March 1993)
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Websites:
- A Perfectly Normal Museum. Retrieved on 5 December 2015 from
(http://www.jmberlin.de/main/EN/04-About-The-Museum/01Architecture/00-architecture.php)
- Bru na Boinne (Newgrange, Knowth and Dowth). Retrieved on 16
November 2015 from
(http://www.meath.ie/Tourism/Heritage/Newgrange)
- Building The Coloseum. Retrieved on 21 November 2015 from
(http://www.tribunesandtriumphs.org/colosseum/building-thecolosseum.htm)
- Calter P. Polygons, Tilings and Sacred Geometry. Retrieved on 21
November 2015 from
(https://www.dartmouth.edu/~matc/math5.geometry/unit5/unit5.htm
l)
- Griffith
Observatory.
Retrieved
on
December
2015
FROM
(http://griffithobservatory.org/)
- Kroll A. AD Classics: Jewish Museum, Berlin / Daniel Libeskind. Retrieved
on 5 December 2015 from (http://www.archdaily.com/91273/adclassics-jewish-museum-berlin-daniel-libeskind)
- La exposicin ms vista en Espaa el ao pasado fue la de Yoko Ono en el
Guggengheim.
Retrieved
on
December
2015
from
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Philosophy of Space
(http://www.elcorreo.com/bizkaia/culturas/201501/02/guggenheimsupero-millon-visitantes-20150102132645.html)
- Llddell H.G, Scott R. A Greek-English Lexicon. Retrieved on 30
November 2015 from (http://www.perseus.tufts.edu)
- Musee Du Quai Branley official website. Retrieved on 9 December 2015
from (http://www.quaibranly.fr/en/public-areas/an-architecture-for-adream/)
- National Constitution Center of Philadelphia. Retrieved on 7 December
2015 from (http://constitutioncenter.org/)
- Planet Quest: The History of Astronomy Newgrange. Retrieved on 16
November 2015 from
(http://www.planetquest.org/learn/newgrange.html)
- Quai Branley Museum France on Jean Nouvels Official Website.
Retrieved
on
December
2015
from
(http://www.jeannouvel.com/en/desktop/home/#/en/desktop/projet/p
aris-france-quai-branly-museum1)Wikipedia:
Retrieved
on
21
Sacred
November
Architecture.
2015
from
- Smithson J. Smithsonian Institution. Retrieved on 30 November 2015
from (https://www.si.edu/giving/giv_james_smithson.html)
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December 2015 from (http://www.archdaily.com/88705/ad-classics-legrande-louvre-i-m-pei)
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- The Colosseum Through Times: Functions and Symbols. (Published on

May 13, 2009). Retrieved on 21 November 2015 from
(http://itopiarometheeternalcity.blogspot.com/2009/05/colosseumthrough-times-functions-and.html)
- The Libeskid Building. Retrieved on 5 December 2015 from
(http://www.jmberlin.de/main/EN/04-About-The-Museum/01Architecture/01-libeskind-Building.php?exp=,1,#h5-1)
- Wikipedia: Sacred Architecture. Retrieved on 21 November 2015 from
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LEBANESE UNIVERSITY

Faculty of Fine Arts

A Thesis Submitted as a partial fulfillment of the requirements

Thesis Advisor Arch. Rola Saadi

I am unmeasurably grateful for the assistance of my thesis

Circumstances were on my side. Im thankful for having the

The main research is contained in the first three chapters that

The first chapter relies on ideas and concepts of renowned

CHAPTER 2: SYMBOLISM IN CONTEMPORARY EXHIBITIONAL

Creating the Exhibitional Space - Exhibit Design....27

Appearance and Manifestation of Symbolism in Contemporary

CHAPTER 3: CASE STUDIES

Jewish Holocaust Museum of Berlin .......40

CHAPTER 4: INTENDED PROJECT HISTORY OF NATURAL

Purpose and Main Idea..57

CHAPTER 5: CONCEPTION AND FINAL PROJECT.67

After a brief analysis of this philosophical notion, from an architects