Abstract
By examining the relationship between sacred space and spiritual experience through practice-as-research, a methodology for reclaiming the wisdom embodied by transformative examples of classic Islamic sacred architecture in the design of a contemporary Sufi Centre in London, UK, is developed. The metaphysical and ontological roots of universal design principles and practices are explored in order to transcend mimetic processes and notions of typology, location, time, style and scale in the creation of context-sensitive meanings and manifestations. An ontological hermeneutic approach was followed that utilises mixed methods underpinned by direct engagement, collaboration and a willingness to examine personal transcendent experiences and spiritual practices. By conducting practice, the effects of prioritising unseen dimensions (bātin), which enfold visible dimensions (zāhir), on understanding and designing Islamic sacred space are examined. The role of the imaginal realm, the imagination (khayāl), the spiritual heart (qalb) and spiritual inter-pretation (ta’wīl) are explored. Through a contemplative process, forms are perceived as conduits between the physical and spiritual realms and space as a symbol of presence (wujūd). Seen and unseen (zāhir wa bātin) converge into one continuum, potentiating an experience of Oneness (Tawhīd). A transformative approach to practice emerges that integrates a designers’ creative and spiritual practices, cultivates the capacity for transformation and helps to mitigate some of the challenges faced when designing sacred spaces in conventional settings today.
Highlights
In August 2014, The School of Sufi Teaching set out to create a meeting place in London, UK, for the students of the Naqshbandi-Mujaddidi Sufi Order under ShaykhHamid Hasan in New Delhi, India.1 This would be the transformation of an existing building into the first purpose-designed centre outside of India that would reflect and support specific rituals and practices performed by Sufi aspirants with the aim to attain nearness to God
The design aimed to reflect the qualities of Naqshbandi-Mujaddidi spiritual practices by cultivating a contemplative state that supported Sufi aspirants to turn away from the world and to encourage a gradual movement of consciousness towards the realm of the inner self and to what is beyond the self
The imagination became fundamental in understanding and designing Islamic sacred space, where the physical world reflected the spiritual world, human microcosm reflected macrocosm, human imagination reflected Divine imagination and human creativity reflected Divine creation
Summary
In August 2014, The School of Sufi Teaching set out to create a meeting place in London, UK, for the students of the Naqshbandi-Mujaddidi Sufi Order under Shaykh. By remaining firmly rooted in principles from the Quran, new views of existing principles unfolded in the act of interpretation, which reflected existing research into the relationship between historic notions and issues of interpretation, reproduction and representation (Snodgrass and Coyne 2006; Barrie 2010; Barrie et al 2015; Bermudez 2015) This more integrated approach shed new light on understanding how symbolism, geometry, light and sound were used in the design of transformative examples of classic Islamic sacred buildings. The efficacy of this renewed framework in creating physical forms, spatial sensibilities and spiritual meanings, related to the Naqshbandi-Mujaddidi tradition, was explored by constructing the new Naqshbandi-Mujaddidi Centre in London. Islamic sacred architecture designed according to a Divine order and purposely attuned to the flow of fayd. (Divine energy) potentially creates spatial sensibilities that support and inspire transformative experiences of the Divine Presence or Tawh.ıd (Oneness)
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