The Visualisation of Cosmological Ideas in Contemporary Architecture

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The Visualisation of Cosmological Ideas in Contemporary Architecture

Iryna Maslikova

Doctor of Philosophical Sciences, Associate Professor, Taras Shevchenko National University of Kyiv (Kyiv, Ukraine)

Svitlana Stoian

Doctor of Philosophical Sciences, Associate Professor, Taras Shevchenko National University of Kyiv (Kyiv, Ukraine)

This article examines the influence of cosmological concepts on the formation of the new aesthetics of contemporary architecture. Architecture, since ancient times, has been a visualisation of man's ideas about the structure of the cosmos. Processes of radical departure from the classical principles of architectural space have intensified since the early 20^h century. This has led to an increased interest in nature and the active use of natural forms. These principles were embodied in the architectural experiments of Antoni Gaudi, the progenitor of ecological architecture, Friedensreich Hundertwasser, and in the practices of the representatives of the Bauhaus. The beginning of space exploration made the art world increasingly interested in scientific developments in the field of space. This has resulted in radical transformations in architecture, strongly influenced by the latest ideas about the universe's structure, and has directly influenced the nature of architectural forms. Architects such as Peter Eisenman, Daniel Libeskind, Rem Koolhaas, Bernard Tschumi, Zaha Hadid, and Frank Gehry have initiated a new cosmocentric architecture that uses wave-like aesthetics to visualise the rhythms of cosmic harmony and the aesthetics of transitions to states of instability and transitions occurring in the dynamic process of the universe as necessary components of an ever-changing and transforming system. At the same time, the authors argue that contemporary architecture does not completely detach itself from the traditions of the past, but actively uses the symbolism of ancient cosmological doctrines to create modern innovative spaces, emphasising the continuous connection between different stages of human culture.

Keywords:contemporary architecture, cosmological theories, wave-like aesthetics, deconstructivism, symbolism, harmony, innovation

Introduction

Since its origins, architecture has served not only as a shelter for humans against the threatening forces of nature but also as a visualisation of worldview and cosmogonic ideas. Through architecture, Homo sapiens could feel that they are a part of the mysterious and boundless universe. The idea that man is a part of the immense, unexplored, and boundless universe and ought to master its laws for living in harmony with the surrounding world had, for thousands of years, been a basic principle of our ancestors' existence on Earth.

Even the first megalithic structures, such as Stonehenge, the purpose of which is still highly debated, may have been the first observatories or temples of the Sun; at the time of the summer solstice, the Sun rises through a gap in one of the arches of this cromlech, which is certainly not accidental. The idea of the megalith space observatory is supported by such scientists as Hawkins and White. They argue that Stonehenge could be a visualisation of a map of the stellar sky or a calendar. gaudi hundertwasser bauhaus

Cosmic ideas also formed the basis of the construction of the ziggurats of Mesopotamia. These cult towers were oriented according to the four sides of the world, representing the cosmos. The stories of the ziggurat symbolised the seven planets - Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon - and were painted in different colours corresponding to these planets. The architecture of ancient Egypt also had a set of cosmogonic ideas and a cult of the Sun at its core.

Ptolemy's geocentric system also had a significant impact on the principle of organising the architectural space of the ancient world, as well as on the naturalistic concepts of Aristotle. According to Rudolf Klein, the “Judeo-Christian comprehension of the universe was primarily temporal, which prompted the longitudinal arrangement of church interiors and intense involvement of time in the perception of space. Biblical thought was replaced by new ideas about the universe resulting from heliocentric theories of the Renaissance, which later evolved into modern cosmology based on Einstein's theories at the beginning of the 20^th century. Contemporary architecture has sometimes been defined as a synthesis of these two concepts, i.e., the interplay between the bodily character of ancient architecture and the spaciousness of the sacred architecture of Christianity, as explained by Siegfried Giedion in his seminal work, “Space, Time and Architecture” in 1939” (Klein, 2014: 5-6).

Siegfried Giedion systematically and consistently investigated the cause-and-effect relationship between the specificity of the dominant worldview theories at different periods of Western European cultural development and the character of architectural structures that constantly changed per the dynamics of these transformations. Specific features of the architectural space were influenced by several factors, such as changes in speculative priorities, changing ideas about the structure of space, and the development of science and technology that contributed to the emergence of new construction technologies.

The connection between cosmological ideas and specific features of architectural structures can be seen in almost all periods of human culture (especially in ancient civilisations). However, our focus is on modern architectural transformations, which suggest completely new, creative approaches to the formation of human space, based on the mutual influence of cosmological theories and the creative ideas of the artist.

We can partially agree with the maximalist thesis of the American architect, architectural historian, and critic Charles Jencks, author of “The Architecture of the Jumping Universe: A Polemic: How Complexity Science is Changing Architecture and Culture,” who claims that “Our recent understanding is quite unique. We are the first generation to know the approximate age of the universe, its likely origin, the main lines of its history, and its fundamental principle of increasing complexity. We are the first to unravel the major laws of its development and the creativity, beauty, and catastrophe they must bring. We are the first to understand our significant place in a single, unfolding process that has lasted some fifteen billion years - and we are the first to celebrate and question these discoveries. In fact, we have a more creative view of nature than either the Christians or modernists could conceive” (Jencks, 1997: 7).

Charles Jencks' position is a relevant inquiry into contemporary cosmological architecture, for he is critically revising the long-standing dominant view of the universe propounded by Christian thinkers and modernists. He argues that these theories are highly static, mechanistic, and predictable. On the other hand, space has a much more complex and dynamic organisation, which is constantly developing and may be compared to a continuous and dynamic creative process. Space, as well as creativity, always implies unpredictable vectors of development, “surges” and “subsidence”. Because of this, space is in opposition to a clearly defined, infinite, and immutable structure, which develops according to linear laws and resembles a dead and static machine. A synergetic conception based on the principle of overcoming linearity in favour of multidirectional, unpredictable development is incredibly appealing to Charles Jencks, who strives to observe human existence as a whole through the prism of self-organisation processes.

The view of space as a constantly evolving, transforming, and dynamic system is the starting point for our research on the relationship between cosmological ideas and the specific features of contemporary architecture, based on the wide range of existing studies in the field.

The authors of this research used the materials collected and analysed by Sergii Rudenko and Yaroslav Sobolievskyi in their research on philosophical ideas in the missionary work of John Eliot, in particular, the case of the influence of philosophical and cosmological concepts on Indigenous people of North America's architecture (Rudenko & Sobolievskyi, 2021).

Principles of affinity with nature in modern and ecological architecture

The anthropocentric thesis that “man is the measure of all things” is now completely obsolete and has resulted in many disastrous consequences, including a global ecological crisis and the possible annihilation of humanity. This demonstrates that humanity is incapable of totally dominating the unpredictable forces of nature. It is also the reason the ancient principles of the harmonious existence of a man with nature, that man is not the ruler of nature, but only a microcosmic part of a larger and more perfect formation - a macrocosm - are beginning to be actualised with a new force in the space of modernity. This relationship, the interdependence between our lives and the state of the universe, the beginning of which lies in the environment around us, begins to determine the vectors of life and creative development for more and more people, including artists, who work in accordance with the principle of harmony with nature, space, and the universe.

The seeds of these ideas can already be noticed in modern architecture. For instance, Antoni Gaudi's creative constructions exemplified the universal unity with nature, which was the prototype and the main source of inspiration for the author. Having had health problems as a child, he found solace in the fullest possible connection with the landscapes of Catalonia, which inspired his innovative ideas. Although Gaudi remained a committed Roman Catholic throughout his life, the asymmetrical, rounded, and maximally natural forms of his architectural structures conveyed an intuitive feeling of the essence of universal harmony. Not by chance is Gaudi believed to be one of the progenitors of ecological architecture, which also, in our opinion, has a cosmological principle at its core.

One of the ideological followers of the Catalan genius was the Austrian representative of the ecological architecture trend, Friedensreich Hundertwasser, who even verbalised the basic principles of his own work in a manifesto titled “Speech in Nude for the Right to a Third Skin.” “Friedensreich Hundertwasser's main architectural principle was the total denial of straight lines. He believed that a straight line in itself is unnatural” (Matusova, 2015).

Following Gaudi, the idea of using wavy lines in the design of buildings was actively used by representatives of the Bauhaus, who tried to radically revise the established approaches to architectural forms. The wave principle was also adopted in the 1930s by the Finnish architect Alvar Aalto, who skillfully combined the scientific achievements and progressive aesthetics of innovative changes.

Aesthetics of wavy forms and fractal architecture as a visualisation of cosmic harmony

Such a transition to more uneven, wavy forms can be seen in the so-called cosmological architecture of the late 20^th-century, which, among many other eras, is analysed by the American architect, Charles Jencks (Jencks, 1997).

As a general critic of a theological worldview who had been trying to fit the idea of the universe into the framework of traditional beliefs and traditional explanations, Jencks nevertheless noted that some religious doctrines (e.g., Buddhism, Taoism, etc.) hold a deeper vision of cosmic processes, which is reflected in various cultural forms, including architecture. Together with his associates, one of whom was his wife, the architect tried to find new forms and new artistic metaphors to visualise the basic principle of the development of space history, the principle of the unfolding universe. Jencks, emphasising the principle of development and constant flux, suggests that we call this dynamic process “cosmogenesis” (Jencks, 1997: 10) because it is opposed to something static and immovable. The creative visualisation of this principle is the spherical model, the sphere, which unfolds from the centre in a spiral, resembling a wave. This model has indeed become one of the core elements and symbols of contemporary space-centric architecture.

Jencks notes that in modern contexts, the artist, architect, or writer can create their own creative spaces that are metaphors of the boundless universe, in which modern scientific research, echoes of traditional doctrines, and modern symbolic visualisations of these visions will be combined, taking on a peculiar, authorial specificity. “For artists and architects to portray the new world view with its dynamism and ceaseless fecundity, either new languages of expression must be sought, or previous languages developed further. The life of forms in art is the measure of cosmogenesis. In this sense, an aesthetic of creativity is the last judge of the cosmic process” (Jencks, 1997: 11).

In his study of contemporary cosmocentric architectural practices, Jencks draws on his own architectural and design projects implemented in Scotland.

The author notes that so-called “fractal architecture” is beginning to proliferate in the modern urban space of many megapolises. At the core of the fractal architecture is a special “fractal” design built on the aesthetics of broken, uneven planes that resemble the shape of crystals, maximising the fluctuations of light and shadow, thereby creating incredible lighting effects. In the 1920s, expressionist architects used something similar in their experiments, trying to move beyond the standardised, straightforward patterns of classical architecture. “In his project for an addition to the Victoria and Albert Museum in London, Daniel Libeskind has produced a fractal architecture that jumps out of the ground in a series of six leaps. Six boxes push through each other, part cubes, part rhomboids like the ace of diamonds. The flat, intersecting walls, as calculated by the engineer Cecil Balmond, actually become the structure, allowing column-free interiors, so the crushing shapes have a functional rationale” (Jencks, 1997: 12).

In such architectural structures, Libeskind tries to demonstrate the close connection between scientific knowledge and creativity, which in modern times cannot exist outside of constant intersections with new scientific discoveries, including those in the field of space. Contemporary artists in architecture now feel a profound need to overcome the past antagonism between the man-made and the natural world, which has led to numerous artistic approaches to the realisation of these ideas in real buildings that fundamentally change the urban aesthetics of modern cities. Fractal architecture is just one of the variations of multiple experiments and trends, through which the artists visualise their desire to demonstrate the unity and connection of human life with cosmic perfection.

“Another form-language is growing beside the fractal, an aesthetic based on waves, folds, and undulations. Often this form-language is derived, by analogy, from the wave motion that underlies solitons and the quantum world and, perhaps, from Superstrings - those minuscule vibrating units of substance - which underlie the universe itself. Also part of the new repertoire are the twist and warp, characteristic motifs of dramatic change which Catastrophe Theory has illuminated in so many areas. It is no surprise to find these jumping shapes emerging in what might be called Nonlinear Architecture (after nonlinear dynamics, a generic name for the complexity sciences). A new shared language of expression is growing, an aesthetic of undulating movement, of surprising, billowing crystals, fractured planes, and spiralling growth, of waveforms, twists, and folds - a language more in tune with an unfolding, jumping cosmos than the rigid architectures of the past” (Jencks, 1997: 13).

One of the most famous architects of modern times, Canadian-American Frank Gehry, offers us a slightly different direction of architectural visualisation of his futuristic ideas. His large-scale innovative projects have been implemented all over the world - in America, Canada, Germany, Spain, the Czech Republic, Israel, France, Australia, Panama, etc. His style is often associated with deconstructivism, whose representatives tried to overcome the principles of Euclidean geometry, radically transforming the experience of their predecessors, and preferring more cosmic forms, which, at the visual level, seemingly overcame the laws of gravity. However, the author notes that he puts deeper meanings into his works, transcending the boundaries of deconstructivist aesthetics. Sharing a belief about the need for a radical revision of the basic principles of contemporary architecture with such colleagues as Peter Eisenman, Daniel Libeskind, Rem Koolhaas, Bernard Tschumi, and Zaha Hadid, Frank Gehry still tries to develop his own principles of architectural aesthetics, combining the principles of harmony and the latest technological advancements.

One of the most striking examples of the fulfilment of this goal is the Guggenheim Museum Bilbao, a contemporary art museum, the construction of which was initiated by the Basque government, which applied to the Solomon R. Guggenheim Foundation with a proposal to invest in this project and create a landmark cultural and artistic innovation on the banks of the Nervion River. Frank Gehry's project won the competition because he offered the most modern, extraordinary, and innovative architectural solution. The architect paid special attention to the idea of randomness while structuring wavy surfaces that were actively used along with other innovators. This directly correlates with the synergetic principle of unpredictability in the development of complex systems. “As Gehry has said, `If I know how a project was going to turn out, I would not do it'” (Soans, 2019).

Gehry's use of innovative software to model the layout of the building was a true combination of the latest technological achievements in the aerospace industry and modern architectural practices. The software provided by the French aerospace company Dassault enabled the architect to create the space-like wavy shapes of the Guggenheim Museum, which still make a striking impression on visitors today. Ukrainian authors emphasize the importance of using innovative technologies in modern practices in the article “Visualization of Culture Using Computer Technologies” (Petrova et al., 2022).

This kind of building was radically criticised by Jean Baudrillard, who called the Guggenheim Museum in Bilbao a perfect example of virtual architecture, which no longer reflects the truth, authenticity, or talent of the author, but only the technical potential of the use of computer technology (Baudrillard, 1999). Baudrillard was concerned not just with the existence of such architectural forms, but with the prospect of total absorption and ousting of other, alternative, traditional objects by them. He believed that this technological principle, capable of producing thousands of similar buildings using computer programs, is a symbol of the domination of the artificial over the real. Baudrillard assumed that soon the real would end, to be replaced by a simulated reality (Baudrillard, 1999). However, it may be worthwhile to critically review such extremely pessimistic predictions and a radically negative assessment of contemporary architectural innovations because, in the history of human culture, any attempts to abandon long-established traditions have provoked fierce resistance. Such resistance is natural when modernity collides with the past. These “transitions” and “breakdowns,” which are a natural component of not only cultural but also cosmic development in general, have always led to the emergence of new, unique forms in all fields of artistic creativity. The current situation in the contemporary art space is no exception to this rule.

One of the most outstanding and famous architects of our time, who made the most of her futuristic fantasies by creating an extraordinary parametric world through innovative buildings, was Zaha Hadid. Despite the strong resistance she encountered throughout her life as a woman in the male-dominated world of architecture, Zaha achieved success and became one of the most popular and sought-after architects of her time. Her aesthetic principles were based on her fascination with the avant-garde experiments of the early 20^th century, with a particular emphasis on the works of Kazimir Malevich. “Her graduation project was named Malevich Tektonik (1977). It was a hotel project on the Hungerford Bridge, influenced by Kazimir Malevich's painting, his thoughts of antigravity, and using pure geometric forms. Her later projects were either characterised by abstract and fragmented forms or fluid and free forms. She designed over 950 projects in 44 countries. Her success could be attributed to her innovative designs, unique radical concepts, design strategies, and design techniques” (Sebastian et al., 2018).

Despite her early engagement with the ideas of deconstructivism, Zaha Hadid was not a follower of Derrida's approach but was inspired in her work by the ancient traditions of Arabic calligraphy and Chinese and Japanese architecture, in which unity with nature and the perception of any man-made object as part of macrocosm were basic and immutable. Her architectural forms were far from a complete denial of experience, although, in terms of form and content, they were certainly a new wave in the architectural practice of postmodernism.

Like her predecessors, the pioneers of ecological architecture, Zaha tried to find new links between man-made buildings and cosmic perfection, making her designs more reminiscent of images from science fiction films of alien worlds and civilisations living in boundless space rather than anything earthly or utilitarian. Zaha demonstrated in all her works a rejection of the rational principle of total use of right angles, which, in terms of utilitarian convenience, have always prevailed in the architectural forms of the past.

Her innovative, wavy curves in buildings seem to continue the gentle lines of natural objects, most powerfully visualising the rhythms of cosmic perfection and universal harmony. The futuristic building of the Nuragic and Contemporary Art Museum (Italy) more closely resembles an element of a future space city than an earthly object with a clear functional purpose. Moreover, the combination of the cosmological author's design with the remarkable practicality and functionality of some of the projects is fascinating. For instance, the King Abdullah Financial District (KAFD) Metro Station is an extremely important element of the new Riyadh Metro system. Multilevel spiral sinusoidal transitions and the building configuration in the form of a three-dimensional grid maximise the dynamic flow of passengers within this space.

Zaha Hadid implemented the same wave-like principle in many projects, such as the Heydar Aliyev Centre (Azerbaijan), the London Aquatics Centre built for the 2012 Summer Olympics (UK), the Nuragic and Contemporary Art Museum (Italy), Zaragoza Bridge Pavilion (Spain), Wangjing SOHO (China), the Abu Dhabi Performing Arts Centre (UAE), Al Janoub Stadium (Qatar), the Serpentine Gallery (UK), and others.

This principle of the organisation of architectural space, in addition to the fact that it corresponds to many natural forms, also correlates with the ideas of quantum physics, which uses the concept of the “waves” surrounding us everywhere as an important element of the functioning of the cosmic system. Nowadays, physicists even suggest that human thinking is also of a wave nature. According to Charles Jencks, “the waveform contains the properties well known as `quantum weirdness', the paradoxical and essential mind-quality of the universe. This is not the place to discuss the extraordinary aspects of quantum mechanics, but the waveform and function are so basic and important in the universe that it is the place to emphasize the fundamental place they should have in architecture” (Jencks, 1997: 49).

When looking at the architectural structures of Zaha Hadid, one recalls scenes from David Cameron's “Avatar” movie, where the harmonious natural world of alien inhabitants emerged as a phantasmagoric floral form with soft, curved lines that were maximally close to the natural world, making a most pleasing visual impression. It is no coincidence that Cameron, in this cult film, raises the sensitive issue of opposition to natural harmony and the technocratic, consumerist world, which, for the sake of mercantile interests, is capable of destroying everything around it, not limited to its home planet. In Avatar, the idea of restoring primary harmony with the surrounding world through the actualisation of the intuitive involvement of our inner world with the outer world, which is an extension of ourselves, sounds incredibly powerful.

In this context, associations immediately arise with many of the natural-philosophical doctrines of ancient Greece, in which cosmic perfection and harmony were the main reference point in all human activities. The Pythagorean idea of the “music of the spheres,” harmonious music created by the unique sounds resulting from the movement of the planets, suggested that man, immersed in his earthly existence, lost the ability to hear these sounds of universal harmony. To restore this important capacity, man needs to free himself from the temptations of sensual, inferior perception and revive this lost ability. It is no coincidence that in Avatar, Cameron demonstrates the process of passing the initiation, which results in complete unity with the surrounding world. This is essentially a rebirth in a completely new incarnation, which involves the restoration of the ability to intuitively and unconsciously feel the harmony of belonging to the surrounding world.

These processes of initiation were an integral part of the ancient Greek mysteries, which were based, among many other things, on the principle of harmonic correspondence between music and architectural form. For this reason, it was assumed that the architectural structure and its elements, to be as harmonious as possible, should include musical analogies and should be reminiscent of a musical string, the harmonious, correct sound that depends entirely on the mathematical rules of musical intervals. Therefore, it is no coincidence that in ancient Greece, the principle of the “golden ratio” was a kind of canon both for paintings and sculptures, and architectural structures, which had to incorporate this ideal proportion.

Although contemporary architects - the proponents of a return to the principles of universal harmony - deviate in their innovative structures from the commonly accepted canons of classical architecture, their works become evidence of the emergence of new ways of visualising the sustainable principles of the coexistence and interaction of micro and macrocosmic spaces. Only in such a system of relationships can man comprehend the essence of his existence on planet Earth. It is no coincidence that Volodymyr Vernadsky, in his work “Biosphere and Noosphere,” emphasised that “the biosphere cannot be comprehended through its phenomena if its clearly visible connection with the structure of the entire cosmic mechanism is overlooked” (Vernadsky, 1989: 13).

Contemporary architecture as a visualisation of the rhythms of cosmic transitions from harmony to chaos and calamity

A fervent desire to oppose the principles of the consumer society has informed the innovative transformation of the living space of modern people based on synchronisation with the principles of universal development, as demonstrated in the architecture of Zaha Hadid and her creative colleagues. At the same time, artists are aware of the fact that the system of cosmic development involves constant movement and, thus constant transitions from states of harmony to periods of instability and chaos, which is the basis for the emergence of new creative opportunities. The idea of the Big Bang has quite often been used as a metaphor for the genesis of non-standard, creative solutions in the search for new architectural forms. Hadid also used this idea in her work. For example, when designing the interior space of the Gmurzynska Gallery (Zurich), the artist tried to visualise the idea of an explosion, which, through the invasion of black on the white walls, creates the impression of maximum destruction and damage to the surrounding space. “The explosion expressed in black and white painting on the walls, ceiling, and ground creates a sense of movement through the explosion” (Sebastian et al., 2018).

The authors of the article, “The Design Approach of Zaha Hadid,” note that in some of her buildings, the architect tried to defy the laws of gravity by creating the visual effect of breaking these principles using certain technological methods. Elements of her buildings seem to be floating in the air, seemingly defying gravity, as in the Pierre Vives building (Montpellier, France), or curving in an arc following the angle of a natural slope, as seen at the Villa for Golf and Spa Resort (Copenhagen), or leaning as if under the impulse of a powerful storm, freezing in an unusual position forever (the Eli and Edythe Broad Art

Museum, Michigan State University). This is reminiscent of the avant-garde play with a form that the Suprematists once practiced but in the space of architectural elements that are weightless in space and independent of gravity. There are no aggressive rhythms in these buildings, despite their unconventionality and uncommonness. They demonstrate a certain phase of infinite development involving phases of so-called transition, which are necessary to prevent stasis.

For this reason, in trying to represent the different stages of cosmic development, architects introduce the rhythms of global breakdowns and even catastrophes into their designs, which become the driving force of the transition to another level of development with entirely new opportunities and energy potential. One can find relevant parallels between the conceptual content of these experiments and the latest scientific developments in theories of catastrophes, such as the catastrophe theory of Rene Thorn. “Catastrophe Theory is not primarily concerned with what we call catastrophes but, rather, the more prosaic `phase transitions' that are everywhere visible in nature: the dramatic transformation of water into ice at zero degrees centigrade, or into steam at one hundred degrees centigrade; the sudden transformation of a corn kernel into popcorn; the sudden emergence of a rainbow. Phase transitions occur when systems are pushed far from equilibrium by adding heat, energy, or information. They can be represented in two different ways: either by a bifurcation of one linear development into two lines or by a fold, twist, pleat, or crushed plane” (Jenks, 1997: 53).

Of course, to convey the rhythms of catastrophe, of breakdown, of the phase of the global transition to something new, one needs entirely different aesthetic principles from the ones we have discussed earlier. Architectural stylistics here tend to make extensive use of sharp curves, which are symbols of breaking and folding. This partly corresponds to the natural features of the landscape in which the architect places his building. For instance, Japan is located in a zone of constant seismic activity and the rhythms of constant tectonic landslides are reflected in the creative ideas of some architects. Some of the projects designed by Peter Eisenman visualise the transformation of architectural forms as if they were impacted by an earthquake. “Several of his folded buildings in Japan look as if the underground tectonic plates pushed against each other, creating earthquakes, and have erupted into the structure, making it collapse. Indeed, his intention is, in part, to represent this omnipresent form of catastrophe, especially because it is so much on the mind of the Japanese” (Jenks, 1997: 55).

Similar chopped forms, the aesthetics of breaks and abrupt transitions, are found in the architecture of Zaha Hadid, who was on a constant search throughout her life and never preferred any particular principle in her works.

It is possible to draw certain parallels between the phenomena of universal catastrophes and the tragic events in our human history by visualising these rhythms in architectural forms, as Daniel Libeskind did when creating the Jewish Museum in Berlin. The unimaginable horrors of the Holocaust are depicted in this building in the form of zigzags - unnatural, abrupt - and tearing curves and transitions, fractured lines that symbolise the shattered and ruined lives of tens of thousands of German Jews. “Obviously Libeskind did not set out to illustrate this per se, nor the theory of sudden emergence. Yet because his characteristic grammar of design has a fractal quality and is based on a metaphysics of cosmic complication - the presentation of opposites - it naturally reveals cataclysmic shifts and violent change. The `void' down the non-center of the new museum symbolizes the unthinkable nature of the Holocaust, the unrepresentable fact that 240,000 Berlin Jews were uprooted from their homes and deported to their death. The crime has an architectural consequence” (Jenks, 1997: 62).

The impact of Eastern cosmological ideas on contemporary architectural symbolism

When considering the symbolic meanings embedded in the architectural space of the Jewish Museum, it seems reasonable to consider some elements through the lens of different cultural traditions, which will enable us to see the multiple meanings and depths of these elements. In the context of the aforementioned architectural solution, there is an interesting symbolism in the void as a symbol of physical destruction, wiping off the face of the Earth and crossing out the lives of a tremendous number of Jews. However, this context carries a purely Western European negative attitude towards the void as such, which is a visualisation of a total vacuum. The association of empty space with loneliness, abandonment, and the absence of life in the city is also quite common. However, very different symbolic contexts can be found concerning the use of emptiness in the Islamic architectural tradition. This tradition emphasises the impossibility of visually defining God, which turns emptiness in buildings into a symbol of the absence of anything corporal and material, detaching us from everything unnecessary and earthly and enhancing our ability to contemplate the absolute. Rudolf Klein, a scholar studying the influence of Eastern cosmological doctrines on the development of Western European Art Nouveau architecture, notes that “the acceptance of the void was fostered by the cosmology of Jewish mysticism and Sufism - God as space or an all-encompassing entity - as well as the idea of holy vacancy in Buddhism as the ultimate cosmic reality. The acceptance of the non-discursive surface, the rejection of the anthropomorphic representation of architecture, the face-facade metaphor, for example, (as well as the head-capital, backbone-chimney, eyes-windows, mouth-door metaphors) relate to the image ban in Islam, which is actually rooted in Judaism” (Klein, 2014: 7).

For this reason, in the context of the Jewish Museum in Berlin, it is reasonable to consider various symbolic interpretations of empty space because, as a symbol of God's presence amongst the Jewish concentration camp victims, the empty space brings us to an entirely different level of understanding of the architectural idea, even if such meanings were not intended by the architect himself at the time the building was designed. Another symbolic fact is that the word “emptiness” in Hebrew - “halal” - has the same numerical correlation to the number 68 with the word “life” - “haim.”

We can fully agree with Rudolf Klein that Jewish, Buddhist, and Islamic cosmological systems have significantly influenced the distinctive features of Western European modern and, partially, postmodern architecture. Klein claims that “prior to modernism, architectural theories were reflective, like those of Vitruvius, Alberti and, partially, of Semper too. However, as modernism rejected tradition, prospective theories and ideologies took precedence in architecture. I argue that this is the moment when extra-Western cosmologies began to influence Western architecture either indirectly, through the medium of non-Western art and architecture - Islamic, Buddhist, etc. - or directly, by incorporating Eastern religious or mystical elements into Western architectural theory and practice” (Klein, 2014: 6).

The socio-cultural principles of Japan and China also influence modern Western culture and art. “Confucian approaches and East Asian models of successful modernization have been increasingly influencing the socio-economic policy of some Central and Eastern European states, inducing therein the effective interaction of Confucian, European, and universal values” (Piliaiev, 2021: 86).

Globalisation processes, which have already radically transformed all aspects of our lives, have made significant modifications to the architectural principles of the Eastern megacities.

As a result, we have been witnessing the organic intersection of ancient cosmogonic doctrines and their symbols with modern, innovative construction technologies. The Lotus Temple in New Delhi, India, designed by Fariborz Sahba, an architect of Iranian origin who spent most of his life in the United States and Canada, is a striking example of such synthesis (Lotus Temple, 2017). This is also an example of the globalising principle of the intertwining and “crosspollination” of different cultures in the field of art. The main temple of the Eastern Baha'i religion was designed in the form of the lotus flower, one of the earliest and most important sacred symbols in North and Northeast Asia. As an incredibly important element of the ancient Egyptian cosmological system, the lotus flower was associated with the Sun because it opened its petals in the morning and gathered them into a bud in the evening, thus symbolising the eternal cycle of life. Later the lotus flower was to take an important role in Hinduism, Jainism, and Buddhism, symbolising the creative potential of the cosmic elements. In the Hindu tradition, the lotus flower also serves as a symbol of creation because it is associated with the womb, representing the origin of human life. Therefore, it also corresponds with the sacred image of the mother-goddess. As a manifestation of the unity of the three elements - water, Earth, and air - it is also considered to be a symbol of purity and beauty.

With such deep archetypal roots in long-standing Eastern traditions, the Lotus Temple also impresses with the innovative principle of architectural design employed by Fariborz Sahba. “The structure is composed of three ranks of nine petals each, springing from a podium which elevates the building above the surrounding plain. The first two ranks curve inward, embracing the inner dome, while the third layer curves outward to form canopies over the nine entrances. (...) The double-layered interior dome, modelled on the innermost portion of the lotus, comprises 54 ribs with concrete shells in between. The central hall has a diameter of 34 meters and a height of 33.6 meters above the podium. (...) Nine reflecting pools surround the building, their form suggesting the leaves of the lotus. External illumination is so arranged as to make the lotus structure appeal floating on water” (Bahga, 2017).

For all Baha'i temples, a major distinctive and symbolic feature is that the buildings have nine corners at their base, forming a rounded shape. The number nine in many cultural traditions denotes omnipotence, which is associated with the unlimited powers of God. Baha'i sacred principles do not involve any images in temples, and neither do Islamic or Jewish traditions, shifting the emphasis to the symbolism of architectural elements.

However, this was not the only instance in which the ancient symbol of the lotus flower was used for the design of modern buildings. The ArtScience Museum in Singapore, designed by an Israeli-Canadian-American architect and built in 2011, also took on a transformed, modernised, and less literal lotus shape than the Lotus Temple. The flower's slightly trimmed petals, adding one more in number than in New Delhi (there are ten of them), also trigger associations with an open palm that reaches out to welcome us. These unfolded lotus petals form an incredibly large building of 60 metres in height, hovering over the ground in a rather unusual position. From an engineering standpoint, it was a challenging task to realise such a non-standard slope because one part of the lotus was much larger than the other, which could have caused one part to fall over on its side. However, modern technical features made it possible to solve this problem and optimally balance the building, which, in this context, was also an example of the great opportunities provided by cutting-edge technology. In addition to the innovative architectural aesthetics, the building is marvelously functional, as the dish-like shape of the roof is used for collecting rainwater, which is used for the museum's lavatories.

We can thus see how such impressive architectural constructions organically incorporate thousands of years of cultural tradition, visualising the symbolic elements of ancient cosmological systems and the modem features of the latest technological advances and thereby demonstrating the close connection between science and art in the modern world. Similar examples of the relationship between theoretical ideas about the cosmos and artistic practice are also available in other Eastern countries. For example, Ukrainian researchers note “that historically the first in the philosophy of Ancient China was the problem of the unity of the universe” (Rudenko & Liashenko, 2020: 95). Therefore, one can hardly disagree with the thesis of the Ukrainian researcher, Natalia Semeniuk, who claims in her article “The Contemporary Cosmological Models: in Search of the Ways of Systematization” the following: “Indeed, natural or cosmological activities must be at the heart of social and civilisational advancement and development. That is, planetary thinking as a consequence of globalization processes and the acceleration of the technical impact on the environment requires qualitatively new management, which would be focused on the conservation of the planet's resources and the peaceful exploration of space” (Semeniuk, 2020: 30).

Conclusions

As a result of the study, we came to the following conclusions:

1. Architectural structures have always been a form of representation of human cosmic ideas. Such ancient megalithic structures as Stonehenge, the Mesopotamian ziggurats, the Egyptian pyramids, etc., serve as reliable evidence of such a claim. Siegfried Giedion's comprehensive study of the relationship between the character of the architecture and existing worldview systems reveals the processes of architectural transformations from the Renaissance to the present, giving us a detailed picture of the cause-and-effect relationship in this process.

2. Contemporary scholars who analyse the transformation of contemporary architecture, such as Charles Jencks, emphasise the significant influence of new cosmological ideas on the nature of contemporary architecture. Ideas about the complex and dynamic structures of the cosmos, whose development is sometimes unpredictable, become especially relevant. This corresponds to the modern principles of synergetics. The cosmos includes both periods of harmonious stability and phases of “transition” towards states of cataclysm and chaos, which, at the same time, reveal a powerful innovative potential. All these processes are reflected in the styles of contemporary architecture, which are becoming increasingly cosmocentric.

3. It has been established that such modern architects as Antonio Gaudi, Bauhaus representatives, Friedensreich Hundertwasser, and pioneers of ecological architecture were the precursors of cosmocentric architecture. Their principles of reference to natural forms became a basis for further architectural transformations towards the restoration of harmony between the man-made and natural worlds.

4. Wave-like and fractal aesthetics form the basic foundations of cosmocentric architecture, manifesting in such solutions both the principles of quantum physics and the visualisation of the existing scientific experience of the nature of fractals. The new architectural aesthetic of waves repeats the spiral, wave-like development of the universe, negating the principles of stasis and immovability, and evoking associations with constant motion, dynamics, change, and unpredictable scenarios of further development. The most prominent contemporary architects representing this principle are Frank Gehry and Zaha Hadid.

5. Along with visualising the principles of cosmic harmony, contemporary architecture also reproduces the rhythms of cosmic transitions to the stages of breakdowns and cataclysms, which are manifested in the use of breaking lines, sharp curves, and emptiness. This principle accurately correlates these cosmic processes with, for instance, such tragic events in human history as the Holocaust. The Berlin Jewish Museum is a good example of the visualisation of such an architectural approach.

6. This article demonstrates that, along with a radical rejection of the principles and styles of the past, some forms of contemporary architecture make reference to the symbolism of ancient Eastern cosmological doctrines. As a result, outstandingly unusual and innovative buildings appear, which organically combine contemporary architectural approaches and ancient traditions. Such examples demonstrate the possibility of an integral synthesis between the artistic practices of the past and the present.

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