Visual Analysis of Salines de Chaux

Royal saltworks of Arc-et-Senans is a beautiful historical factory used to extract salt during 18^th and 19^th centuries, which is now listed in UNESCO’s World Heritage Sites. It is located in eastern France, in the city of Chaux and right next to the forest Chaux. The architect was Claude-Nicolas Ledoux, a famous royal architect during the reign of Louis the 15^th and the Louis the 16^th. The construction began in 1775 with the approval of the king (Louis the 15^th) and finished in 1779, ten years before the French revolution has started. When it was finished, Louis the 16^th was ruling the country, so his name was carved on the entrance. Although the first plan in a square form was not accepted, Ledoux was successful with his second plan, which was in a semi-circular pattern. The realized plan has eleven stone buildings around the semi circle consist of a monumental entrance (including a wash house, bakery, prison and a guard post), administration building, two workshops on the left and right sides of the administration building, four buildings for the labors, two pavillions for taxes and a stable. Wood was another element used in the construction. It was also a significant element in salt making and, unfortunately, it started to diminish as time passed. Ledoux decided that carrying wood would cost higher than transporting water. So, he also built a 20 km canal from Saline to the forests. As a whole, Ledoux’s saltworks constructed on a fifteen km square area is a unique masterpiece in terms of ornament, form, function, material and technology used, and style.

 

The site welcomes you with a magnificent entrance. It has eight Doric columns which represent the birth of architecture since Ancient Greek. Behind the columns, there are sculpted stones and an artificial grotto. If we consider the entrance as a theater stage, the columns would be the curtains that cover the surprising cave at the back. If we analyze the alignment of the entrance, administration building and the stable, we can also say that it represents an evolution, which starts from a cave (grotto) and ends with a temple (administration building). Furthermore, Ledoux wanted to build something more original with the columns and established a new form for the administration and management building at the center where he used the columns for the second time. This new order was a combination of cubic and cylindrical stones that were put one after another. Other essential motifs are seen in the shape of vase and pouring water situated on the outer walls of the work stations in order to glorify the decoration.

 

 ( Artificial Grotto )

 

 

(the motifs on the walls)

(the original columns in front of the administration building)

( Doric columns in the enterance)

 

            Simple geometrical shapes such as circles and quadrangles were used in the form of the site. Ledoux was a perfectionist. He prevented everything that contradicts with the simplicity. For instance, the buildings do not have chimneys. (The windows facing the walls are used to get rid of the smoke and to air the buildings. The windows facing inside the site are only used for decoration) Woods and gardens are situated at the back of the semi circle right next to the diameter since he wanted to conserve the huge open space in the middle. There is a harmony between the buildings and the green area. The buildings are ordered in terms of superiority and purpose. The buildings that are related to production are aligned in the diameter, whereas the lodgings are located on the arc. Additionally, rectangle-shaped stones are used around the windows, doors and the corners. The variety in tecture, color of the stones and bricks also signify the hierarchy. For instance, the administration building stands out more since its collosal volume and original columns placed in the front while it is ornamented with beautiful stones.

           

            Furthermore, the saltworks has been used for many different purposes throughout the history. The salt making activities continued in the royal saltworks until 1895. At the beginning of the 20^th century, the site housed Spanish refugees. In 1940, German troops used it as a residence. In the following years, the site was used as a concentration camp for gypsies. Luckily, in 21^st century, Royal Saltworks provided much better facilities compared to the last century. Now, the site is open to public. There is a museum dedicated to Ledoux which hosts events and exhibitions going on throughout the year. 

 

Interestingly, the power of authority is seen all around the site. The shape of the site looks like an eye. And the hole at the top of the administration building gives the feeling that people are watched all the time inevitably. The huge green section and the alignment of the buildings in a semi-circular shape increase security. Moreover, the semi circle site is covered with a wall to isolate the area. It protects the factory from both internally and externally. All the workers were controlled before they quit in order to protect the valuable salt. On the other hand, it was also a helpful tool to keep the facory away from the external threats such as refugees hidden in the forest or smugglers. Ironically, Ledoux’s utopic site reminds me of “1984”, George Orwell’s dystopia where citizens were watched all the time and got orders from the government. They were never able to see the ruler but always felt his existence. The hole at the top is a powerful symbol for authority.

 

            Additionally, the novel technique Ledoux used in the columns of the administration building is a groundbreaking development considering the classical usage of columns since the Ancient Greek period. The site is also one of the first examples of industrial architecture. Ledoux is a philosopher architect who uses geometry in a very meaningful way. He creates a wonderful site both functionally and aesthetically.

 

 

 

 

 

 

 

 

 

 

 

 

Citations

 

"Claude Nicolas Ledoux, La Saline De Chaux,XVIII° , (analyse Simplifiée )." - Art Air(e) " Arts Plastiques" N.p., n.d. Web. 11 Feb. 2014.

 

La Saline D'Arc Et Senans [part 1]. N.p., n.d. Web. 11 Feb. 2014. <http://www.youtube.com/watch?v=-3UxmwvemB4>.

 

La Saline D'Arc Et Senans [part 2]. N.p., n.d. Web. 11 Feb. 2014. <http://www.youtube.com/watch?v=_5qq149RcbI>.

 

"Royal Saltworks at Arc-et-Senans." Wikipedia. Wikimedia Foundation, n.d. Web. 11 Feb. 2014.

 

"Www.salineroyale.com." Www.salineroyale.com. N.p., n.d. Web. 11 Feb. 2014.

 

 

 

 

 

 

 

 

 

 

 

Photographs used in the paper

 

 

Birdseye view of the site. Digital image. N.p., n.d. Web. 11 Feb. 2014.

 

Digital image. Http://whc.unesco.org/uploads/thumbs/site_0203_0019-500-342-20100504121949.jpg. N.p., n.d. Web. 11 Feb. 2014.

 

Digital image. N.p., n.d. Web. 11 Feb. 2014. <http://farm6.staticflickr.com/5305/5623811603_5d6945555b.jpg>.

 

Digital image. N.p., n.d. Web. 11 Feb. 2014. https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ_GkkoFgeqF8eQOVDEWenMmZ8sSHzwvwWJ35cABpgBCqnCSbDadBcXTPlaSUYSdoO2uJ-Sk1HmOogNjvWC-ud_6X9_vNzaYT_EL45FC0OSWVDPULiy4c0RwwdYwmqswlCgD1uWUz21AE5/s1600/IMG_5355.jpg

 

The Motif on the Walls. Digital image. N.p., n.d. Web. 11 Feb. 2014. <http://media-cache-ec0.pinimg.com/236x/8e/26/73/8e2673e56cb881875a5006368bedf403.jpg>.

 

 

 

 

CENTRAL PARK

Early Islamic Architecture

What is Islamic Art? What is Islamic Architecture? Did the early-Islamic structures have a novel form or were they derived from previous cultures? Were early-Islamic mosques built in order to gather the Muslim society or were they built with an aesthetic sense? These are the questions Oleg Grabar answers in the “Islamic Religious Art: The Mosque” section of his famous book called “The Formation of Islamic Art”. In order to understand the common features used in the latter mosques, he mainly focuses on the structures of Umayyad mosques such as the Great Mosque of Cordoba in Spain (fig. 1.a and 1.b) and the Great Mosque of Damascus in Syria (fig. 2), also Al-Aqsa Mosque in Jerusalem (fig. 3) and the Prophet’s house in Madinah.

            He first analyzes the word ‘masjid’ using its appearances in the Quran to understand the origin of the mosques and reaches the conclusion that it only means “sanctuary, a place to worship” which is far too general to refer only to the Islamic mosques. The need of an architectural structure, mosque, emerged from a statement in Quran, which requires a gathering in Fridays to perform prayers. Allowing the Muslims to pray anywhere and on their own for the rest of the time, Quran emphasizes the Friday noons with these words in 62^nd surat and 9^th verse, “O you have believed, when (the adhan) is called for prayer on the day of Jumu’ah (Friday), then proceed to the remembrance of Allah and leave trade. That is better for you, if you only knew.” The only place for this gathering was the Prophet’s house, which really was his home at first and then transformed into a holy mosque. Besides the house, other small formations were created around Medina and they were called “musallah”. Unfortunately, none of these early structures had survived.

            Since there were no existing mosques earlier than the 8^th century, he examines the early Umayyad mosques: The Great Mosque of Damascus and Cordoba assuming that especially the features they both share may be considered as the characteristics of the spaces that were used in mosques in earlier centuries. The common characteristics of the nonexistent early are:

·         Large rectangular shaped plan

·         Large courtyards

·         Surrounded by porticoes on three sides

·         Large halls with naves on the fourth side 

He tries to explain the reason why the plan of a mosque had changed between the Early Islamic period and the future centuries from a simple rectangular form to a much more complex structure. It is for sure that the masjids were embracing the whole Muslim society in the city since the beginning of the Early Islamic period. The growing population led to a development in the plan of the mosques. It was once a single rectangular unit consisted of an open and a closed area (fig. 4), then developed into two parts: a courtyard and a closed area with a façade. This implies that mosques were built to meet social needs rather than architectural or aesthetic conceptions.

While examining the early structures, Grabar highlights the differences of the hypostyle hall for a mosque that is distinguished from the hall in a church. In a church, the hall is wider than the side aisles and the naves are parallel to each other. On the other hand, the size of the hall does not vary in a mosque and the direction of the naves is perpendicular (fig. 5). He suggests that the early hypostyle hall was inspired by the house of the Prophet instead of the halls in a church. He also points out that the columns are reused in the construction of the mosques such as the mosque of Damascus from Christian churches. So, we understand that it is also very natural to use the existing art forms when trying to formulate an artistic voice for a new formation. According to Grabar there are five distinguished features of Islamic architecture:

1.      Minaret

2.      Mihrab

3.      Maqsurah

4.      Domed unit in the court

5.      Axial nave ends up in kiblah

These features are explained in the article in thoroughly. The one that I found most interesting was the “minaret”. It is the part where the Muslims are called for prayer. He mentions the two different types of minaret: In the first one, it is attached to the mosque and has a rectangular shape (fig. 6). The other one is located apart from the mosque and has a cylindrical shape. This kind of a minaret exists in the Great Mosque of Samarra (fig. 7). The most interesting part is where he states that the calling for prayer has always been a need since the rise of Islam whereas the usage of the first minaret is seen in the Great Mosque of Damascus (fig. 8). The towers of Damascus from early Christians were convenient for this task. In conclusion Grabar states that, “It is thus fairly simple to conclude that a certain function appeared fairly early in Islamic mosques and that the forms used for it were taken from older architectural vocabularies and therefore varied from area to area.” And he believes that a structure keeps it originality when it is reused for another function. So, the society puts a totally new meaning to an old tower.

After explaining the minaret feature of the mosque, I would like continue with the developments in the mosque structure. The single form of the mosque varied only with the growth of different branches and sects of Islam, which had varied needs that could have been satisfied with differing architectural forms. These may have involved various religious symbolisms and at times mystical interpretations:

1-       Typical mosque buildings

2-      Islamic function acquired monumental form such as madrasa, mausoleum, tomb or ribat

            Grabar tries to determine which structural elements of the early mosques are specifically Islamic and are not remainings of a pre-existing tradition. While doing that, he describes the various decorative ornamentation techniques found in a wide variety of examples of mosques from a huge geographical area. In conclusion, he touches upon a significant question in Islamic art. Was the decoration just for ornamentation or did it have an essential meaning? For the decoration of the mosques, he suggests two variations:

1-      Concentrating the decorative elements around the sections of the mosque to focus attention to these parts. (nave or mihrab (fig. 9))

2-      Distributing the decorative elements to emphasize the overall unity of the mosque.

He also speaks of paradisiacal symbolism. Whatever these symbolic meanings may have been in early mosques, they were later lost since they started to become insignificant to the beholders. The reason for the interpretation is obvious when we observe the Mosque of Cordoba (fig. 10). Moreover, the only exception is the Arabic writings on buildings, which are more than just decorations for Islam. Since it does not exist in the early mosques, this is considered as a development of later periods.

            The text had enlightened me about the formation of a mosque and the early Islamic structures. Grabar uses several examples and also points out the exceptions in each case to support his arguments. What I have learned from him is that, although the most of the early Islamic architecture did not have any elements that were new inventions but were adapted from pre-existing forms, it is important to understand that it is impossible to confuse a Muslim mosque with a pre-Islamic structure.

 

Figure 1.a

The Great Mosque of Cordoba

 

 

 

Figure 1.b

Interior of the Great Mosque of Cordoba

 

 

Figure 2

The Great Mosque of Damascus

 

Figure 3

Al-Aqsa Mosque

 

Figure 4

The diagram of the Prophet’s house in Medina

 

 

 

Figure 5

The plan of the Great Mosque of Damascus to point out the perpendicular naves used in the mosques

 

Figure 6

The Great Mosque of Kariouan to show an example for the rectangular minaret type attached to the mosque

 

Figure 7

Minaret of the Great Mosque of Samarra to show an example for the cylindrical separate minaret type

 

Figure 8

The minaret of the Great Mosque of Damascus

 

Figure 9

The mihrab of the Great Mosque of Cordoba

Figure 10

The paradisiacal courtyard of the Great Mosque of Cordoba

WORKS CITED

Grabar, Oleg. "Islamic Religious Art: The Mosque." The Formation of Islamic Art.  New Haven: Yale UP, 1973. N. pag. Print.

Grabar, Oleg. The Formation of Islamic Art. New Haven: Yale UP, 1973. 113. Print.

           

            "Surat Al-Jumu`ah (The Congregation, Friday) - سورة الجمعة." Quran.com. N.p., n.d. Web. 11 Mar. 2014.

            surat no: 62 verse: 9

 

 

Bird's eye view of the Great Mosque of Cordoba. Digital image. N.p., n.d. Web. (fig. 1.a)

 

The Great Mosque of Cordoba. Digital image. N.p., n.d. Web. (fig. 1.b)

 

The Great Mosque of Damascus. Digital image. N.p., n.d. Web. (fig, 2)

 

 

Al-Aqsa Mosque. Digital image. N.p., n.d. Web. (fig. 3)

 

 

The Diagram of the Prophet’s House in Medina. Digital image.Http://knoji.com/images/user/Slide3(20).jpg. N.p., n.d. Web. (fig. 4)

 

The plan of the Great Mosque of Damascus. Digital image. N.p., n.d. Web. (fig. 5)

 

Minaret of the Great Mosque of Kariouan. Digital image. N.p., n.d. Web. (fig. 6)

 

Minaret of the Great Mosque of Samarra. Digital image. N.p., n.d. Web. (fig. 7)

 

The minaret of the Great Mosque of Damascus. Digital image. N.p., n.d. Web. (fig. 8)

 

The mihrab of the Great Mosque of Cordoba. Digital image. N.p., n.d. Web. (fig. 9)

 

The courtyard of the Great Mosque of Cordoba. Digital image. N.p., n.d. Web. (fig. 10)

 

 

 

 

 

 

 

 

 

 

 

Rumeli Hisarı

My favorite work of architecture is “Rumeli Hisari”, the Rumelian Castle, located just by the sea on the European banks of Bosphorus, which connects the Black Sea and the Marmara Sea. Ottoman Sultan Mehmet II had this small fortress built before he started the siege of Constantinople to cut-off any possible shipment of reinforcements from the Black Sea region.

The construction embraces three main towers, one small tower, and thirteen watchtowers. The towers were named after the Pashas who had supervised the construction of each tower. The tower in the north was called Saruca Pasha Tower, but now it is called Fatih (means “conqueror” in Turkish) Tower. It is 28 meters tall, has a diameter of 23.5 meters and has 7 meters thick walls. The other tower is called Halil Pasha Tower, which stands right next to the water and in the middle of the fortress. They both have nine stories. Halil Pasha Tower is 22 meters tall. Its walls are 6.5 meters thick and it also has a diameter of 23.5 meters. The third tower is named after Zaganos Pasha. This one only has eight stories. It is 21 meters tall, has a diameter of 26.7 meters and 5.7 meters thick walls. Moreover, the watchtowers are in different forms. One of them is in the shape of a quadrangular prism. Six of them are prisms with multiple corners and other six have cylindrical shapes. There are three gates situated next to the main towers, one side gate and two secret gates, which the soldiers were able to reach the arsenal and the food cellar through gates. In addition to this, Sultan Mehmet had commissioned 400 Janissaries. They were living in little wooden barracks in the courtyard. They also had a small mosque.

The main reason that lies underneath the construction of Rumeli Hisari is Sultan Mehmet’s plans on Constantinople. He built the fortress to the opposite side of the other and smaller fortress called Anadolu Hisari (the Anatolian Castle) on the Asian side of Bosphorus. They are both situated at the narrowest part of the Bosphorus to blockade the help that may have come from Black Sea during the siege in 1453. With the help of the fortress, the Ottomans were able to control the navigation on this narrow sea-lane. The ships could only cross if permitted. Thus, Ottomans gained a strategic advantage over the defendants.

            In a nutshell, the fortress played a very significant role in the conquest. It contributed to the fall of Constantinople. Sultan Mehmet II had taken every precaution to reach his goal. He was given the title of “Fatih” Sultan Mehmet (Mehmet the Conqueror), which also represents the great victory. The fortress is not only useful in the history but also in 20^th and 21^st century. It hosts international festivals and concerts especially during summer. Although the usage has changed over time, it is amazing that we still have the fortress in Istanbul after five hundred years since it was built.

Rumeli Hisari. Digital image. Http://www.fazturkey.com/Files/User/Product/Orjinal/471_rumeli_hisari_istanbul.jpg. N.p., n.d. Web.

 

 

Rumeli Hisari 2. Digital image. Http://www.hg2istanbul.com/uploadedimages/venues/Istanbul_culture_RumeliHisari_1.jpg. N.p., n.d. Web.