In order to complete the spatial code puzzle, four basic factors have to be analyzed: form, funct... more In order to complete the spatial code puzzle, four basic factors have to be analyzed: form, function, symbolism and usage/user. In this section, the focus will be on the user factor and the role that it plays when it comes to tracing the spatial code of church space. However, how can the user be perceived as a factor that plays any role in the creation of the space’s spatial code? It could be claimed that the user experiences the effects only of the spatial code inside space, without having any control on the procedure of producing space. Nevertheless, as Lefebvre would argue, space is primarily created in order ‘to be lived’: perceived, experienced and appropriated by the user of space; thus the user and their needs are certainly an important defining parameter of the spatial code that should not elude the researcher’s attention.
Being a social space, the church building is a social product. This term however, does not refer ... more Being a social space, the church building is a social product. This term however, does not refer to a collective product, created through a type of collective, anonymous productive procedure, but rather to a product created by certain individuals in order for it to be used, lived, and consumed by a community.
When we look at an icon do we see Christ or an image of Christ? This question continuously emerge... more When we look at an icon do we see Christ or an image of Christ? This question continuously emerges in modern scholarship. Issues such as presence and absence, art and worship, image and art, seem to concern modern scholars who study Byzantine painting. What is the Byzantine interpretation of the above issues and how do modern scholars perceive them?
In this paper I will concentrate on the intersection between church space, the role of the viewer... more In this paper I will concentrate on the intersection between church space, the role of the viewer as a participant and their experience of divine presence. Through a communicative reading that focuses on the interaction between space and viewer, I will research the role of the viewer as a participant during the process of shaping their experience of divine presence, a process that takes place inside the church space and it is affected by it. The viewer’s experience of divine presence is not just formed inside but also by the church space and its shape owes much on the one hand to the role of the viewer as a participant inside this space and on the other hand to the particular architectural and pictorial context of this space. I will look at architecture and painting as two elements that define and give meaning to the church space and also as two elements that contribute highly in the transformation of the viewer into a participant. This aims at determining the way in which the viewer is turned into a participant inside this space and the importance of their role as a participant when it comes to the shaping of their experience of divine presence inside the church space context. The spatial setting of images and the way that painting works to make the Imaged enter the physical space of the viewer create the conditions in order for the viewer to obtain an active role in this space and in order for the church space to be transformed into a space where divine presence is realized and experienced.
In order to complete the spatial code puzzle, four basic factors have to be analyzed: form, funct... more In order to complete the spatial code puzzle, four basic factors have to be analyzed: form, function, symbolism and usage/user. In this section, the focus will be on the user factor and the role that it plays when it comes to tracing the spatial code of church space. However, how can the user be perceived as a factor that plays any role in the creation of the space’s spatial code? It could be claimed that the user experiences the effects only of the spatial code inside space, without having any control on the procedure of producing space. Nevertheless, as Lefebvre would argue, space is primarily created in order ‘to be lived’: perceived, experienced and appropriated by the user of space; thus the user and their needs are certainly an important defining parameter of the spatial code that should not elude the researcher’s attention.
Being a social space, the church building is a social product. This term however, does not refer ... more Being a social space, the church building is a social product. This term however, does not refer to a collective product, created through a type of collective, anonymous productive procedure, but rather to a product created by certain individuals in order for it to be used, lived, and consumed by a community.
When we look at an icon do we see Christ or an image of Christ? This question continuously emerge... more When we look at an icon do we see Christ or an image of Christ? This question continuously emerges in modern scholarship. Issues such as presence and absence, art and worship, image and art, seem to concern modern scholars who study Byzantine painting. What is the Byzantine interpretation of the above issues and how do modern scholars perceive them?
In this paper I will concentrate on the intersection between church space, the role of the viewer... more In this paper I will concentrate on the intersection between church space, the role of the viewer as a participant and their experience of divine presence. Through a communicative reading that focuses on the interaction between space and viewer, I will research the role of the viewer as a participant during the process of shaping their experience of divine presence, a process that takes place inside the church space and it is affected by it. The viewer’s experience of divine presence is not just formed inside but also by the church space and its shape owes much on the one hand to the role of the viewer as a participant inside this space and on the other hand to the particular architectural and pictorial context of this space. I will look at architecture and painting as two elements that define and give meaning to the church space and also as two elements that contribute highly in the transformation of the viewer into a participant. This aims at determining the way in which the viewer is turned into a participant inside this space and the importance of their role as a participant when it comes to the shaping of their experience of divine presence inside the church space context. The spatial setting of images and the way that painting works to make the Imaged enter the physical space of the viewer create the conditions in order for the viewer to obtain an active role in this space and in order for the church space to be transformed into a space where divine presence is realized and experienced.
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The viewer’s experience of divine presence is not just formed inside but also by the church space and its shape owes much on the one hand to the role of the viewer as a participant inside this space and on the other hand to the particular architectural and pictorial context of this space. I will look at architecture and painting as two elements that define and give meaning to the church space and also as two elements that contribute highly in the transformation of the viewer into a participant. This aims at determining the way in which the viewer is turned into a participant inside this space and the importance of their role as a participant when it comes to the shaping of their experience of divine presence inside the church space context. The spatial setting of images and the way that painting works to make the Imaged enter the physical space of the viewer create the conditions in order for the viewer to obtain an active role in this space and in order for the church space to be transformed into a space where divine presence is realized and experienced.
The viewer’s experience of divine presence is not just formed inside but also by the church space and its shape owes much on the one hand to the role of the viewer as a participant inside this space and on the other hand to the particular architectural and pictorial context of this space. I will look at architecture and painting as two elements that define and give meaning to the church space and also as two elements that contribute highly in the transformation of the viewer into a participant. This aims at determining the way in which the viewer is turned into a participant inside this space and the importance of their role as a participant when it comes to the shaping of their experience of divine presence inside the church space context. The spatial setting of images and the way that painting works to make the Imaged enter the physical space of the viewer create the conditions in order for the viewer to obtain an active role in this space and in order for the church space to be transformed into a space where divine presence is realized and experienced.