By Barie Fez Barringten
www.bariefez-barringten.com
The usefulness of considering the context of Arabia in metaphor is to relate its very name with symbols, icons, and change. In fact, Saudi is in Arabia and Arabia is in Saudi.
The two, Saudi and Arabia are to most people inextricably linked. In fact there is a huge history of the Arabs before and without the Saud family. There is also the mater of being not only of a place but merely "in" a place. And many Saudis find them selves in just such a situation associating themselves more with their "Arabness" than to their national Saudi Arabness. Further more to be in a metaphor is admit to one's while national identity to being transferred from one to another state. Bedouins for example associate more with their tribe and Arab ancestry, culture and traditions.The first thing the reader will want to know is how a place is "in" metaphor. What does it mean to be "in" metaphor? At the very end of this monograph the reader will find Heidegger's definition of "in ness" from J.L. Mehta's book and this monograph's section title: "Being-in-the-world." Arabia is "in" metaphor where the extent of "in ness" is no where more a characteristic, cultural, heritage, or tradition.
This is not the first time that I've used the term metaphor as a verb.
"Meta" by itself means change and when used as a prefix can designate a new but related discipline designed to deal critically with the original when used with "pherein" (to bear). It changes what is born. It transfers the meaning of what is placed in its' composition. Therefore, since the whole concept of a metaphor is one which changes, modifies, brings-over and transforms we can use it as a verb, but why not just say Saudi in change? Because Saudi is in a particular kind of change characterized by making the strange familiar : where one expresses one part in terms of another, where the familiar and the alien transpose each other; where there are both commonalities and differences; and where there is an essence common to both.
Arabia "in" metaphor is a metaphor where two terms "Arabia" and "metaphor" known to have a preferential treatment in one context is employed in another. Now Arabia and metaphor both interact. Arabia tells us something about metaphors and metaphors tells us something about Arabia.
They both transfer their usual contextual and preferred meanings to each other on the basis of commonality. They are apparently unrelated and yet reveal an essence common to both.
"Metaphors" and "Arabia" transform, change and carry over where one is a family, a royal family, Kingdom and a place. The other is a literary term defining a particular kind of interaction and operation. It is "in" a metaphor because one uses a term, element or part normally used in one context in place of another that a likeness or analogy is suggested. Because the alien is placed into the context with the familiar that the alien becomes familiar and the familiar takes on the qualities of the alien. It is in this way, too, that the Kingdom of Saudi Arabia and the term metaphor transfers, transforms and changes one another.
It is also why the whole metaphor: "Arabia in metaphor" is emblematic and attractive.
We want to know what about Arabia is metaphoric and what about metaphor is Arabia. Arabia is in change but now the change is characteristic and we know that metaphors can relate things but now it's an Arabian change. The difference is that Arabia is in metaphor but the metaphor is not in Arabia. The context is what they both share and what this monograph is about, the interrelated conditions in which Arabia in metaphor exists.
Further, when we conceptualize about any place, people or thing "in" metaphor one becomes a function of the other indicating "in"clusion. The metaphor is means, medium and instrumentality of Arabia. "In" is a preposition indicating that the metaphor is not only a vehicle for Arabia but is also its' limitation. Arabia is "in metaphor" limits Arabia for this analysis of it’s' architecture.
It may also be "in" other limiting conditions such as "boom", "crisis", "growth", "maturity", "development", "expression", "peace", etc. It is not this monograph's intention to exclude Arabia from all else but in this metaphor to limit our present understanding of Arabia. It is by such limitations that we look to widen our perspective of that ethereal state.
For this consideration we also mean that Arabia is figuratively located "in"side or within a metaphor. This implies too that it has and is being directed (or bound) "in" ward from without by the operations of a metaphor. Thus if we can understand a metaphor we can, in this framework, also understand Arabia. In other words Arabia is transferring to Saudi and Saudi to Arabia. Metaphor is a transfer mechanism and the two terms inform each other's nature, characteristics and persona. It is this very realtionship which is still being understood by Saudi Arabs. Arabs who know their tribes, identity and authenticty by theri family name before their Nation.
We can see the natural elements and we can learn the various details but it is the metaphor that reveals Arabia in its' complex, diverse and multi dimensional reality. The metaphor enhances and demands that we see changes, transformation, and coexisting ambiguities.
And last, Arabia "in" metaphor indirectly, but perhaps most importantly, involves the commitment of architects, users, and the public to a process that will produce meaningful results. Results that will well represent Arabia as a people and provide them with the identity distinctions, definitions and variations afforded by architectural metaphors. Arabia "in" metaphor is authenticating, desperate and vivid. This monograph defines the context of the metaphor primarily utilizing part of the proceedings of a symposium from Medina in 1981 by Serageldin and El Sadek and research by Y.M.O. Faden about new towns, urban villas, speculative housing, and manuals.
The original symposium included: "bioclimatic patterns", "alternative, architectural relevance and cultural survival in the Islamic city", "traditional Muslim cities", "tradition and change in the physical environment"; approaches and definitions" and "a strategy for planning an Arab town" which interrelated with Faden's work provides the conditions in which the metaphor occurs. This monograph gives us the environmental setting from which the metaphor "grows". Dr. Faden's specific insights and views on the way housing is being provided in Saudi Arabia define the basis for the modern Saudi Arabian metaphor.
(1.0 pg. 12)Part one of the book by Serageldin and El Sadek, "The Arab city", addresses the issues of approaches and definitions; essential prerequisites to an accurate perception of the nature of what is understood by the historic and contemporary Arab city, especially in its' religious context. There are nine papers in this section, and, by their titles I believe the reader of this monograph can best understand the topics being investigated: "bioclimatic patterns and human aspects of urban form of the Islamic city"; "urban needs of modernizing societies"; "new directions in planning"; "alienation"; architectural relevance, and cultural survival in the Islamic city"; "the Arab city, architectural space and Islamic culture"; the definition of research methods and their application"; "traditional Muslim cities and western planning ideology": An outline of structural conflicts"; "innovation and continuity in Islamic urbanism"; "social interaction as a determination in the design of the Arab city"; "cultural conflicts in urban patterns": a Saudi Arabian case study; and, "on the identity of the Arab Islamic city, past and present." This monograph includes specific references, quotations and information from just five of the above thirteen.
(1.0) Serageldin, I., and El Sadek, S., "The Arab city
Bioclimatic patterns:
(1.1)Yousef Belkacem, author of the first paper: "Bioclimatic patterns...” defines some of the basic syntax of the metaphoric model appropriate to the "study of traditional Arab architecture as a global phenomenon...."
Realizing that Arab architecture can be defined into an orderly system proclaims a metaphor and its' ability to be created, perceived and analyzed. Just as there are ways in which words are put together to form phrases, clauses or sentences so has buildings its' conditions, goals, operations and ideals. Syntax is to a writer as design is to an architect, and both syntax and design is to using the literary metaphor metaphori1cally in architecture. It is profitable and realistic to look beyond the limits and bounds of the master builder (architect) just as Belkacem studies Arab architecture as a global phenomenon. This requires an understanding of what is both global and Arab, their commonalities, differences and basis for their harmonious interaction. (1.1)"One can easily imagine that an ancestral tribe who developed their civilization on the threshold of the vast spaces of the desert would also refine their sense of space concept of opposing and ambivalent notions: of the finite and the infinite; fixity and errancy; citizen and nomad, refuge and territory; and enclosure and family." This analysis is not unlike Serge Chermayeff's system of complementaries to score design and planning decisions and thereby establish measures of "community and privacy" incorporated in his book with Christopher Alexander by the same name.
(1.1) Belkacem, Y., "Bioclimatic patterns".
1. "Cally": as the metaphor functions in literature so it functions elsewhere. Carrying it over from one context of literature to the context architecture. This suggests that syntax and design have a commonality (an essence common to both).
The metaphoric construct of a work of architecture often deals with "complementary" variables which bring together (combine) apparently unrelated elements; and by so doing define new time, space and volume. Balkacem continues, (1.1)"as a permanent architectural sign ("metaphor") the enclosure (metaphor) captures space (metaphor) within a material form; and defines a finite interior space (metaphor) while the surrounding environment has no limits and is perceived as the infinite. However, the enclosure metaphor is the first act of building. It represents a primary order, an empty container which architecture (ghimara in Arabic, that literally means: "to fill") will be filled with forms and life." This observation is further confirmed by Heidegger's discussion of "in ness" to be found in this monograph's last section.
Belkacem makes several other definitions available to us: "your house is your greatest body" according to Muslims, therefore the architecture like the veil hides what is within, and, as the veil, only revealing the superficial" 1clothing, gestures, speech and behavior". "Thus, the courtyard situated at the center can be compared analogously, suggests Belkacem, to the "in"nermost personality that hides itself "in"side the body. Its' envelope (or facade) is the same for all houses; both, of the rich, and, the poor man. As both "in"timacy and "in"trovertedness and signs of equality amongst believers: (1.1)"the believer is the mirror of a believer". In this way, all bodies are the same body; all courtyards are the same courtyard. As the "herma" suggests a "circle of "in"tegrity", the autonomy of the body, so the harem denotes the forbidden territory, and, the invulnerability of the body (and of space).
(1.1) Belkacem, Y., "Bioclimatic patterns".
1. (1.1) and these are codified within the Hadith tradition.
The metaphoric language is essential to the description of the religious program for religious architecture. Without a conscious reification from word concepts form is not rational. One can see then how the application of architecture as the making of metaphors is perhaps nowhere clearer, nor could it anywhere be more verbally applied than to the making of architecture in the Arab world.
(1.1)Belkacem continues to describe how the "enclosure" in a house applies to domestic space, and "horma" to feminine space. Mosques are enclosures (1.0) which "isolate and separate one from the materialistic aspects of the outside world. "They are used to define a sacred place reserved for meditation and prayer. (1.1)"Madrasa" is for concentration and teaching." 1The enclosure is the essence of both "being in" "and" "dwelling" as well as the German's concept of "bau".
Note the cultural difference of specificity of function to isolate space and to articulate it away from others. Very much like a language and grammar which shapes, orders and defines. Contrast this to the oriental order of place and environmental zones which have interchangeable functions. Compare it to the Western model which is, likewise, specific but without hierarchies.
Later we will see how the concept of sameness of facade is 2reified to express equality among believers, and, expresses itself in the sameness of bodies with differing and private interiors.
(1.0) Serageldin I., and El-Sadek, S., "The Arab city"
(1.1) Belkacem, Y., "Bioclimatic patterns".
1. See later discussion of "in ness"
2. Reify to regard something abstract as material or concrete thing. To concretize. Metaphor is an agent of change. It transforms from one to another state or to be the commonality of identity between one and another believer.
The Context of Arabia "In" "Metaphor"
Belkacem also defines the Arab Islamic societal expression of masculine vs. feminine which also translates itself, metaphorically. The "man's role is one of communication of speech and exchange" corresponding to the exterior space, where meetings and diverse forms of exchange occur. Whereas the female enclosure is a 1sign (metaphor) of femininity conveying the principles of immobility and fixity representing the enclosed ("in ness") space of the courtyard. Pathways are masculine and peripheral whereas enclosures are feminine and central. The network of paths, enclosures and hierarchies which follow can be methodically traced in the vernacular of Arab city planning up to the individual "dwelling". All and one carrying over from one context to another as a literary metaphor from the most public of the external to the most private of the "in"ternal. This is totally antithetical to the cataclysmic and interactive relationships established by "glass boxes" which transcend time and space by a "one time" perception of it all, neutralizing privacy by low partitions that minimally cover the most basic, non public functions such
1. Signum as the image expressed in the outward manifestation of a mark. The mark limits and bounds to record position as characteristic. It is symbolic used for identification and indication of occupants that desire privacy. It is the label to signal the private communicating externally to ambulators. As a signal it conveys notice or warning doing permanently and persistently beyond the range of human capability. The function of the female enclosure conceals and hides operating in two directions: from outside in (which is the overt goal) and from inside out (which may be the covert) goal. In any case it communicates 2concealment.
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2. See Section: "ii, the metaphor in Saudi Arabia". Ideally concealment would be obfuscated. It would be made obscure to confuse rather than clarify. In this case only by an intimate knowledge of traditional signs and customs could a stranger track down precious treasure. The more the concealment is obscure the less vulnerable are the assets to hostile attack. In the civil context clarity is designed to exhibit conformity to custom and announce territories that are off limits to outsiders. It is a courtesy of polite neighbors as toilet, bath and dressing. This is just a part of the context of Saudi "in" metaphor. It is a normative, traditional, and social behavior context whose environment is consequent to it’s' norms, more and behavioral models. In this regard these are both the limits and conditions of the existing and evolving Saudi metaphor.
The Context of Arabia "In" "Metaphor
Alien Components:
(1.2)Said Zulficar writes about how the motor car city and its' urban patterns have "invaded and surrounded the historic Islamic city, resulting in structure and life style subversion. To Zulficar, it's a matter where economic gain has devalued heritage. Culture vs. survival. Art becomes obscure and irrelevant (1.0)"reducing the artistic achievements of the past to the rank of curiosities that have no links to daily reality." The metaphor has become irrelevant and absurd. It's drowned out by the din of speed, quantity and scale of irrelevant language and their attendant symbols. This is also a dimension of the "context" which characterizes the Saudi metaphor.
(1.2)"Alien models of development have brought about a general disorientation of the social, cultural, economic and political structure of the Arab society." (1.2)Zulficar says that "Islamic countries, unfortunately, may tend to express a sense of shame and display contempt with regard to the traditional and urban environment." Thus, the metaphoric dimension of planning, design and building have become expressed into a language with conventions that is objective, scientific understood only by persons trained to reify technical solutions in a 1generic language that can accommodate the commonalities of all expression. It is the metaphor of mathematics, physics, engineering, sciences, management and economics. In this way, the metaphors are relevant to the general abstract dimension of all "men", corresponding to things that can be known, experienced and understood with the mind. The metaphoric use of components, and, the way (and technique) of their combination becomes more important than the things that have been combined.
(1.0) Serageldin I., and El-Sadek, S., "The Arab city"
(1.2) Zulficar, S., "Alienation, architectural relevance and cultural survival in the Islamic city"
The Context of Arabia "In" "Metaphor
It's how it's said, not what is being said. Zulficar says (1.2)..." a habitat which was adapted to the specific climatic conditions and to the way of life of Islamic countries is being exchanged overnight for an irrelevant, standardized, and monotonous model from abroad, and applicable any where in the world." It's an adaptable form, once derived and metaphorically understood, now applied in any circumstance. People now react to "habitat"; it affects them and communicates to an audience of readers that cannot perceive its' message. They can only appreciate it superficially and thus it promotes superficial thinking about one's own space (metaphor). This phenomenon perpetuates transience and adaptability and promotes metaphoric illiteracy as persons who cannot read metaphors. It is a kind of desensitization.
(1.2) Zulficar, S., "Alienation, architectural relevance and cultural survival in the Islamic city"
(1.3) Bianco, S., "Traditional Muslim cities"
1. gener , genus birth, kind, class. Relating to a whole group. Universal. The metaphor's goal is to make the universal peculiar and the strange familiar. It must employ familiar techniques in a media relevant to "readers".
The Context of Arabia "In" "Metaphor
Apparently unrelated:
(1.3)Stefano Bianco in his "Traditional Muslim Cities" writes about the
incompatibility between "western science, technology and political systems" because they are far from being "neutral" and "do not easily combine with any religious order: the tools of European civilization imply a value system "(metaphors)" and an ideology of their own which is inseparable from the corresponding techniques." Here one metaphoric language system is described as being incompatible with another. One set of metaphors, developed in one context, when transferred to another, becomes cacophonic and dissonant. One who experiences this metaphor becomes realigned with this metaphor. The metaphor tells us about who we are in relationship to the things around us. If the language, symbols and vernacular is unrelated to our own religion, social order, and family values we will ignore or live outside the metaphor of the environment. We will be on the whole dysfunctional in relationship to the tool of the environment, finding private zones and special networks to work out our true needs.
Bianco continues, (1.3)"therefore an undiscriminating use of these tools will necessarily mean the penetration by the corresponding western ideology."
(1.3) Bianco, S., "Traditional Muslim cities"
The Context of Arabia "In" "Metaphor
Many of these imported structures were not chosen for their supposed functional advantages, but merely for the prestige (of the metaphor) they were expected to bestow on the clients." The metaphor of the skyscraper and other building types as components are in contradiction to the norms, values, and patterns of the local social orders. But since buildings (which are not unlike cars, paintings, and books) can be bought and displayed for the identity (metaphor) they provide they too become metaphors matching owner's to corresponding values, norms and roles outside of his or her context, and, to a context which provides him or her with relationships that transcend his or her historical vernacular and indigenous context. Points of reference lie in a world of things manufactured, styled and patterned by world class technology. They intentionally turn their back on the peculiarities of site, location, climate, religion, and government.
(1.3)"Today," continues Bianco, the adoption of "Western "legal (and administrative) systems in various Islamic countries have often created an ambiguous situation. On one hand the imported system tends to destroy the surviving, self regulating social structures because it survives by substituting itself for the older network; on the other hand, the import cannot properly work on its' own terms because the remaining habits and customs (like that of direct human connections and personalized decision making) create permanent obstacles to its' total implementation. (1.3)"In traditional Islamic societies" says Bianco, "the shared values, the religious consensus, and the social interdependence between the members of the community are strong enough to coordinate individual decisions in a natural and flexible way thus producing an organic whole out of the sum of individual acts of building."
(1.3) Bianco, S., "Traditional Muslim cities"
The Context of Arabia "In" "Metaphor
(2.0)The "Hisba" is such an example "relating to the question of traditional building activities and their legal implications is included in the excellent doctoral thesis of (2.0)Saleh Ali Al Hathloul, "Tradition and Change in the Physical Environment". (The Arab Muslim City [Boston 1981] unpublished.) (1.3)Bianco explains that the use of calligraphy, "as a vehicle of the Qur’anic Message" is an example of" in Bianco's view, "the difference between western and Arab Muslim architecture. "In Islamic architecture", says Bianco, "the prime concern is the proper expression of universal principles and of spiritual truth." Bianco's view is included in this monograph to point out what does not concern western architecture but to provide the reader with what does concern Islam. Bianco also explains the wide use of calligraphy as appliqué and the de-emphasis of three dimensional structure, space and form except as it might provide for calligraphy: its' application, accessibility, and views.
(1.4)Bokhari says that "the objective of traditional Islamic architecture, at its' best, was to overcome the material aspects of a building (and to transform the wall surfaces) in order that they may become "transparent" for a spiritual reality, which is conveyed (metaphor) to the enclosed interior space.” Metaphors which tells us one thing, juxtaposed with a metaphor which tells yet another is often used in literature to not only define one thing in terms of another but to refer to a context common to both. The context being external to the context of their own derivation. Understanding both the clash and juxtaposition, without resolution, understands much of building in today's Arab and religious building context. This is where the two are not combined or resolved but often 1juxtapose and overlap. They coexist in such a way as to require dual translation in the relationship between user and metaphor. Saudi is in this metaphor. A metaphor of dual contexts. This duality has both differences and commonalities.
(1.3) Bianco, S., "Traditional Muslim cities"
(1.4) Bokhari, A.Y., "Approaches and Definitions"
(2.0) Al Hathloul, S.A., "Traditions and change in the physical environment"
2Identity:
The last of the nine papers in section one on (1.4) Approaches and definitions is written by Abdulla Yahia Bokhari, on the identity of the Arab Islamic city, (past and present) which explains that dimension of the metaphor that transcends the vernacular: because says Bokhari:, the Arab Islamic City in particular will always exist, not necessarily in its' simple yet celebrated physical form, but at least in its' "socio cultural context."
(1.4)Expressing the view of many Arab Muslims, Bokhari says elsewhere... "the Arab Islamic city of today, different in scale and form, as it is, can still be a gratifying and fulfilling place to live in (1.4)"as well as (being) commercially viable."
(1.4) Bokhari, A.Y., "Approaches and Definitions"
1. See Heidegger's "in ness" and (6.0) pg 115)"touch" discussion "Being in the world" in the final section of this monograph.
2. Identity: metaphorically is an "iterate: (to say or do again or again and again). Sameness of essential or generic character in different instances and in all that constitutes the objective reality. Oneness: The distinguishing characteristics of the elements in a metaphor and the differences that is apparently unrelated, that which under certain circumstances cannot "touch" or be combined but remain alien and sovereign. See later discussion of "touch".
The Context of Arabia "In" "Metaphor
The future metaphor for Arab cities 1combines the commercial/material/ scientific with the traditional/cultural/religious components. Bokhari directs our attention to the outward looking streets of commerce and residences of European cities to the "Galleria like" (Gerald Hines, Houston, Texas) "souk" with its "khans" (shops). Note, even the Gerald Hines model is molded after the Milan mall; "The Galleria", the great glass enclosed retail-shopping building in Italy (and not the "Madler Passage" in Leipzig, Germany). The metaphor for the Hine's project reach to Europe while the metaphors for the Italian version reached to the Mid east. Today, Saudis who visit the "west" and "westerners" who visit Saudi will come face to face with the common "souk/bazaar" metaphor both converging on the same needs, origins and concepts. It is these kinds of metaphoric commonalities that modify the experience and perception of Saudi in Metaphor. These form links, bridges and reference points for mutual acceptance and admixture. The weave of the context between the perceived and customary is obliterated by manifestations busting through the limits and bounds of nations, customs and traditions.
1. "Combine": is to bring into such close relationship as to obscure individual characters: merge, intermix blend, join. The single vehicle for this admixture is the transformer, composer and originator who bears each components character. He experiences, knows and understands each in a personal intimate way. The outward expression into a product is the residue of his experience. The readers job is relive what composer’s experience. The metaphor's job is to facilitate reading that which had been combined. The reader reads the finished combination as well as what was combined. He also reads the way the combinations have been made: the hierarchies, priorities, sequences, flows, interactions, relationships, etc.
(1.4) Bokhari, A.Y., "Approaches and definitions".
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1Unity: We can additionally note ways to construct the Arab city metaphor in (1.5)"A strategy for planning and Arab towns" by Jamal Hussain Ansari and Mohamad Shaheer in Section Four "Strategies for the Future" "The Arab city". Unlike the centerless open integration of states that separates state from religion, the Islamic city center says Shaheer and Ansari must be centered on "Unma": "a community based on the principle that faith, not kinship, acts as a social bond. Synonymous with the notion of "Unma" is the concept of 1unity." The mosque is the center of the community as a place for prayer, and, of", says Shaheer and Ansari, "submission to "Allah"; and, also a continuing place for the integrated and submissive community." Metaphorically, "Unma", according to Shaheer's and Ansari's explanation, "reifies into the mosque that which tells all that is needed to explain the Muslim identity". This is central to the metaphor in which Saudi's context evolves and adopts.
(1.5)Shaheer and Ansari say, "from the Islamic point of view, a city would be considered ideal if the activity of each of it’s' inhabitants ultimately leads to one objective the service of God." The "Waqf" is where the wealth invests their income on the construction of religious and charitable institutions for the whole community. "This", derive Shaheer and Ansari "is what has led to the proliferation and projection of Islam where "important Muslim values are translated into urban forms." At odds with today's "energy rich" consumption, the authors go on to state that the traditional Muslim city is distinguished by its' compactness and low rise development.
(1.5) Shaheer, M., and Ansari, J.M., "A Strategy for Planning an Arab Town"1. unity: fr. unis one; the state of not being multiple. The results of the metaphoric process of knowing, creating and assembling. The assemblage is both the act and result of collecting into a single entity. The assembler assembles assemblage. In this way metaphors are to assembly as symbols translated by an assembler.
The Muslim city is necessarily at a pedestrian scale and constitutes an urban environment characterized by low energy demand and consumption.
It is the artist, not technicians, who best portray visions of "building places" for people since it is he or she who specializes in making metaphors for a people. Architects make metaphors for a people; their works are communicative, significant, and, relevant to their context. (3.0)Walter Benjamin says that work, at the place where it "happens", enjoys a unique existence that is never the same when it is transplanted. The Arab society is experiencing the crisis the world has been experiencing for a long while: namely, if architecture is the making of metaphors, and, metaphors explain our place in the universe, then, how do we make metaphors and not merely imitations of metaphors? Must every creative event entirely assume total uniqueness and invent again all that others before have already successfully completed? What inventions and manufactured items from one context can be applied to another?
Imitation of Metaphors:
Counterfeit, fraud, and deceit in art is a seeming contradiction and yet, if the work exposes untruth as it’s' reason for existence, then it fulfills its' mission. As we study architecture as the making of metaphors we can only be offended if we discern corruption in the components. "Richard the lion hearted" is valid because Richard is indeed the powerful King and the lion is indeed the powerful lion. But if Richard were an imposter, dressed to look like Richard, and, lacked the calling of the original Richard; and, the "lion heart" was known by all to be only second to that of yet another strong animal then we'd have been deceived and left disoriented.
(3.0) Benjamin, W., "The work of art in the age of mechanical reproduction"
The Context of Arabia "In" "Metaphor
We'd experience only imitation and weakness and not the identification originally intended by the original metaphor. Metaphors are mechanisms which 1reflect the truth: they are sacred, and valued for what they reveal. When they are not working, many "know" it. Likewise, when they are imposed upon us, and, still don't work for us we also "know" it. We experience deception. When we are told they are of us, for us and by us; and, are neither of, for, or by us, they are out of line with reality (and not art) but a kind of propaganda. They become marketing slogans, and veneers (as facades) propped up in front of a strange agenda. However, we live in a world where we delegate work to specialist to govern, teach, lead and to do many things for us so that we may attend to the things we can do. It is our (modern "man's") job to "know" imitation from reality; to "hammer out" the ethics, policies and poetry that compose the quality of the life around us.
2Technicians of leadership in all phases of life, including architecture, have learned how to perpetrate imitation and perpetuate doing what they do: dealing with 3rarefied (abstruse) issues, creating metaphors in vacuum.
1. Reflect is to give back as an image where the truth is an alignment with reality and the facts. The depth, scope, completeness, comparability, comprehensiveness and coordination of characters manifest in the metaphor, the expression or the original ingestion are important as is the technique utilized their programs while packaging these in imitations of metaphors in order to receive our continued acceptance and use of their products and services.
2. Techne art, craft, akin to GK. Tekton (architektonik) builder, carpenter.
Technicalize gives a technical slant to works. The technician is a specialist in the technical details of making metaphors. He is concerned with technique as the manner in which technical details are treated.
3. Rarefied: relating only to a select group. Very high. Above it all. To become abstruse, etheric less dense, and esoteric, designed for or understood by the specially initiated alone.
The Context of Arabia "In" "Metaphor
If the reader would attach a cause to this monograph it might be to encourage architects to call for architecture to be the making of metaphors ("good mimesis") and not the making of imitations of ("bad mimesis") metaphors. Professors and professionals alike could do what they do best: profess, explain, enlighten, bring words to deeds, articulate, advocate and guide. Their "work" itself could be that "profession."
On the other hand, no amount of councils, conferences, meetings, doctrines and institutions (themselves metaphors) can produce the architectural metaphors. It is the metaphor makers who grapple with the applications of religion, settlement, growth, industry, loneliness, success, pride, and prosperity; who themselves meet with the issues and report to us the vision of their own experience through metaphors. An experience logically translated, but one that comes very personally by free will from a creative impulse and direct "inner" experience of the elements of the context.
In fact today, Saudi Arabia is producing many "raw" and crude, early stage elements of what could develop into powerful metaphors. But they are of their own special time and circumstance and involve the desert, oil fields, computers, education, etc. They are very contemporary issues which all are somehow brought to enjoin with religion. We will look further into current metaphors in Saudi Arabia utilizing Dr. Yousef M.O. Faden's Ph.D. thesis. (4.0)"The development of contemporary housing in Saudi Arabia."
The resulting manifestations have no legacy (or history of art or layers of architectural past) since Saudi Arabia began its' story in modern times. The Kingdom must look to create fertile grounds to enable its' arts and artists to freely 1express religion in their own special time and place.
The Context of Arabia "In" "Metaphor
It is very likely place for architectural metaphoric manifestations to be much more transcendental, temporary and transparent than in other societies; and, therefore could relate very well to grids, computer graphics, and ancient Arabic and religious patterns.
Today, Saudi people live in and among 2alien metaphors adopting random fragments that form only semblances of order. They adapt to high speeds and utilize new electronics. There is so much that is positive to report concerning the uniqueness of Saudi society, that a study could be made that matches these qualities to the metaphors of its' present. When a society is 3anxious about its' tenuous and dynamically evolving present, there are members of that society who might try to curtail creative growth by evoking a centralized and controlled dogmatic rhetoric. Such inner 3anxiety may only manifest into outer dissonance and consequent stagnation. Its' diverting. Historically, the positive aspects of such anxiety has been its' potential to spurn authenticating experiences that develop public character, personal identity, societal purpose and meaning; and, a sense of cultural permanence and enduring values.
(4.0) Faden, Y.M.O., "The development of contemporary housing in Saudi Arabia"
1. Yet its' that very overt, apparent reification which paradoxically contradicts what seems to be religious doctrine: A private, inward, concealed peace that does not become visually unique but expresses itself in unified "sameness".
2. Alien metaphors belong to another person, place or thing. They are extrinsic and relate to a different context. It has not been personal need and made familiar. It alienates and estranges because it conveys or transfers its metaphor. Its metaphor is read in unfamiliar terms and foreign essence.
3. Anxious: refer to Heidegger's Dasein's authentication.
On the other hand it may also provide false metaphors of yet another society and propound the untrue ideas of an elite intelligentsia. Metaphors are not made on "Madison Avenue", they can only be marketed from Madison Avenue. Valid metaphors of any quality in art are not made by referendums but by working in a medium and place; rising and falling, and, experiencing the entirety of a situation. In that way, the metaphors of Saudi Arabia do now proliferate and do express Arabs and religion in the Kingdom of Saudi Arabia.
The Context of Arabia "In" "Metaphor
The Special Situation in Saudi Arabia:
Manifestations that are usual in most societies which have stable and organized settlements for many centuries are that they have a product which is historic, cultural and indigenously geographic. This product manifests itself in various arts from proliferating in such societies. Art in those societies is an indigenous utterance springing forth from it’s' "mores" and philosophy. This art is a metaphor for the truth about these people and their ways. It is a physical manifestation of conflict and harmony and expressive to them about each other. Metaphors classically arise from within, evolving bit by bit and subject to interplay from a variety of media which manifest the expressions by art.
3. Anxious: refer to Heidegger's "Dasein's" authentication.
The Context of Arabia "In" "Metaphor
Poets, writers, painters, sculptors, playwrights, musicians, singers, dancers, etc. all interact around varieties of folklore behaviors, social contexts, religious circumstances, beliefs etc. to express the life and times of their own world in terms often 1paradoxically transcending their very time and place. They are part of both (1.1) Belkacem’s "global phenomenon" and "Arab architecture." They are "in" Metaphor. However, according to other scholars this experience is altogether missing from Saudi Arabia; and, along with this experience the profusion of expressions and metaphoric manifestations. There are increasing numbers now concerned about this missing dimension of their society; and, not unlike those from other societies, are turning to some constants in their society which had historic manifestations (even if it has been derived from brother societies). This is the case in Saudi Arabia as it looks to religion with it’s' doctrines, history and manifestations to gain its' parochial identity. The experience of other societies with their own gossamer examples provides analogies to identify Saudis. As we have seen elsewhere in this study, even if the analogy is clear and understood trying to make it 2metaphorically valid and relevant to contemporary settings can not always be accomplished. Yet this is the context of Saudi "in" metaphor.
Many metaphors are composed of analogies. Implying that if two more agree with one another in some aspects they will probably agree in others. Analogies and metaphors are not the same.
(1.1) Belkacem, Y., "Bioclimatic patterns"
1. Metaphorically valid because it transfers, changes, and communicates in terms of a shared experience common to both composer and reader. Common to the context of originator and origin to perception.
2. Paradox: Saudi Arabia's metaphor may to some be a confounding paradox true to itself and being its' best but seemingly contradictory and contrary to opinion. Like its' cousins metaphors and dilemmas it involves choices, aliens, complexities, complementarities and often self contradictory conclusions by valid deductions from acceptable premises.
The Context of Arabia "In" "Metaphor
One can confuse the two, applying the past and experience in one context to that of another. Analogies have particulars that resemble the character between things otherwise unlike. We can see the similarity. We can make a comparison. Metaphors have this dimension as we review underlying aspects of each component. There is apparent correspondence between the members of parts that serve as a basis to form the creation of another. In this way, too, analogies can be used to form metaphors. But a metaphor is not an analogy. An analogy is a correspondence in function between anatomical parts of different structures whereas the parts of a metaphor will differ both in function and context. Although metaphors are often composed of 1homologies they need not. Metaphors are best when their components are "alien" and not of a common origin.
Arabist and scholars confront the difference between analogies and metaphors when they try to bring particulars from one context to another as though there are 1homologies that can be analogous. When, in fact, they are sovereign and distinct but can be metaphoric. One can only use certain components of one in another which can suggest a likeness (or analogy) between them. The components are different and remain so but due to their new relationship are likened to one another as though they are 1homologies. The very function of the metaphor is to affect a transfer of the alienated into a familiar state and without the components, in fact, changing their superficial identity. It is in the duality of 2"being in" both identities and relationships
1. Homology: similarities often attributable to common origins. A likeness in structure between parts of different cultures due to historical differentiation from the same or a corresponding part of a remote ancestor.
2. Being in: see later discussion of Heidegger that the particulars exist.
The Context of Arabia "In" "Metaphor
No matter how extensive the research, imitation, copying, or utilization made with however, much sincerity, it soon returns to being the true expression of Saudi Arabia and its' own uniqueness! This uniqueness is then translated into manifestations that are transferable and produced from and about the Saudi society. For any people for whom religion is the fountain from which ideas flow then these expressions will include religion; if the ideas only flow from its' Bedouin life style, it will be Bedouin; if the ideas are from its' Arabic mores, etc. Saudi is a so called "melting pot" of all of these and being prodded to further development. This is a parameter of Saudi's metaphor and conditions its' creation, composition and perception. Presently it is in this context where Saudi's metaphor is fixed.
The Urge for the Metaphor:
Metaphors include life's patterns, social norms and mores; as well as hopes, aspirations nature, and spirit. Saudi's religion is itself submission of nature to the spirit and its' expression. As the personalities, character, and identity of the people who submit vary so do their ways and expressions of their submissions. The contexts of religion and believer’s life vary and are often at odds with natural circumstances. These all produce the metaphors of the Saudi people.
Nature and spirit are balanced and negotiated which conditions the context of the Saudi metaphor. The expressions are many and varied and at times misunderstood.
For example, single story functions are placed into multiple story buildings. Residential functions are placed into commercial buildings. Commercial office functions are placed into residential high rise buildings. Residences are designed to look like castles and fortresses. There are buildings with religious details as decorations on exteriors of buildings and post and beam structures clad to look like bearing walls.
The Context of Arabia "In" "Metaphor
Art of this time, place and world (social, religious, political, etc.) tells us something about ourselves and our relationships. It describes for us that which expresses and contains the summation of the meaning, intents and goals of both the scattered and many activities which surround us. With art our world is a harmony and in perspective; but, without art it our world is the seamless continuum of day to day thoughts, activities and personal aspirations. It is in this way, that for each and all of us collectively art is the making of metaphors; and, it is equally true, that because architecture too makes metaphors, architecture is also an art.
Sponsored by The Arab towns organization/The Arab urban development institute/ The Saudi Arabian Ministry of Municipal and Rural Affairs and the Municipality of Medina., "The Arab City", edited by Ishmael Serageldin and Samir El Sadek is the report of a symposium of the (1.0)"mutual expression of the Institute's mandate which covers the provision of a liaison function between concerned and interested parties as well as the training of specialist staff, as research and developmentation activities." Al Naiem who declares that the world (globally) stands on the "verge of a major cultural revival." But in his view this revival "seeks to link (metaphor's function) the present with the past, while acknowledging the innovations of contemporary mankind and the contributions of science", etc. He then says that it is "apt that we pause to mediate on our cultural heritage." The mayor seems to be calling for bringing meaning "in"to the environment constructs of today from the vocabulary of yesterday.
(1.0) Serageldin, I., and El Sadek, S., "The Arab City" (its' Character and Islamic Cultural Heritage)
The Context of Arabia "In" "Metaphor
(1.0)The foreword to this four part volume of themes taken from the symposium is written by the former Mayor of Riyadh Abdullah Al Ali
"Culture" after all, implies that there has been something that has positively affected us to change, modify and develop: that once we were subject to things that cultured, and, that these things were somehow lost or overwhelmed by other things; and, that now we are looking to the heritage (as heirs to what we inherited) to be "subject" to those things once again. Indeed, this will place burdens upon us and a burden upon history and its' role in making metaphors in Saudi Arabia.
The papers presented in this volume are in English; however, there were other papers (1.0)"presented in Arabic which have been edited and are released in a separate volume". Perhaps, it was the organizer's hope that there would be as a result of this symposium a "revitalization of the heritage of the Arab city." Architecture the building metaphor, as it’s' companions: literature the written metaphor, music the played metaphor; theater the acted metaphor, etc., involve the dominant particulars of the makers of the metaphor. The artist is the advocate, visionary, and author of that dimension of our material world which manifests our hopes, dreams and aspirations. The artist may also of the Symposium's papers seem to agree that appropriate, relevant and contextually indigenous metaphors and antidotes to society's otherwise vicarious, irrelevant and insignificant building, development, occupation and maintenance efforts express depression, dismay and revulsion about the same world. The forty one authors
(1.0) Serageldin, I., and El Sadek, S., "The Arab City"
The Context of Arabia "In" "Metaphor
(1.0)Dr. Mohamed A.Al Hammad, Director General of the Arab Urban Development Institute says that "the felt need, was, essentially, a strike a balance between the requirements of rapid growth and the preservation of the "authentic" character of the Arab city and its' Islamic cultural heritage."
But is it really possible to balance rapid growth with cultural heritage? Are they mutually exclusive or compatible concepts? If they are compatible, then why are they exclusive and separated? Balance implies a kind of control and centralization of decisions and policy formulation. Is this the ideal for the Saudi Arab society? It also implies 1reciprocity. Is cultural heritage mutually dependent upon rapid growth? Is rapid growth dependent upon cultural heritage? The negative answer to both for Saudi Arabia is unique and confounds those that have charted the developments of other societies. Some have concluded that Saudi's rapid growth has been based on only one thing and this has been its' ability to maximize its' utilization of it’s' natural resource of oil without the relationship of this utility to its' cultural heritage. Not to say that Saudi Arabia has disregarded its' cultural heritage but not in this relationship posed by Mayor Abdullah Al Ali Al Naiem.
(1.0) Seralgeldin, I., and El Sadek, S., "The Arab city"
1. Reciprocus: returning the same way: inversely related; where parts of the metaphor are mutually dependent and interactive. There is a mutual exchange. They share properties by correspondence.
The Context of Arabia "In" "Metaphor
Likewise, the past and its' heritage, though it may culture us (5.0)"it is closed to us, we cannot affect it"... it is gone forever." Metaphors are reciprocal and one made with the past says Paul Weiss, cannot be a very good one". The past period in time no longer exist as are its' memories and remaining bi products. (1.0)"Verge of a major cultural revival", linking the present with the past" and "mediating in our cultural heritage" can only be then an illusive hope and declaration for Saudi's to remember and to gain identity by remembering and knowing who Saudis' are as a culture with a heritage. Not that the link would move forward, backward or be inversely related. There can be no cross relationship between the cultural heritage of the past and the rapid growth of the future nor can they be balanced. The "balance" would be to restrain, control, and act upon. We cannot act upon the past but we can act upon the future. Growth, rapid or otherwise would be restrained but for what purpose?
Years ago Puerto Rico in the Caribbean initiated a program called "operation bootstrap" which intentionally limited growth in order to preserve its' culture and economic benefits to rather accrue to its' citizens than to outside investors. Puerto Rico does not have the oil resource nor anywhere near the economic potential of Saudi Arabia. Major cities throughout the world have "no growth" land development policies so as preserve existing values especially "land value" upon which tax is based.
(1.0) Serageldin, I., and El Sadek, S., "The Arab city"
(5.0) Weiss, P., "The metaphoric process"
The Context of Arabia "In" "Metaphor
Together as parts of a metaphor for a policy involving balance cultural heritage can tell influence rapid growth. What are their commonalities and differences? Is there an essence common to both? Can cultural heritage transform rapid growth and rapid growth change cultural heritage? Perhaps this is what Al Naiem inferred by balance. To put the two into a metaphoric relationship shaping policy, behavior and future works yet to be programmed, planned and built. In this way we can see that the Greek concept of a transfer mechanism reciprocally affecting each other can include broad concepts and reconcile even seemingly desperate dilemmas. If not on one level then another. In any case Saudi is in a mode of being transformed, becoming the logical consequence of it’s' heritage, the state of resource and supply, and the hope of its' developing people. These are both Saudi's limitations and opportunities. It conditions the context and elements of it’s' metaphor.
The metaphor will speak about one thing in terms of another; will make that which may be unfamiliar and unknown (or strange) familiar so that one can focus and understand. This balance between rapid growth and "authentic" character is an expression of yearning for built things that inherently acts as "transfer" units connecting users to the best of both worlds. The new world of science, technology, service, industry with that of the spirit of religion and all its' effects on life style, behavior, and civilization. In this way Saudi in metaphor is rather an outreach than 1inversion. So strong is this "heart felt" desire that it has been institutionalized into ongoing consensus building organizations which provide the language, vocabulary, syntax, context and structure for metaphoric architecture.
1. Inversion: a reversal of position. The condition of being turned inward. The act or process of turning inward. Reverse.
A metaphoric architecture in context to the Arab Mid East Saudi Arabian Region. It should be noted that the Arab Towns Organizations" held its' first symposium in 1971 (22 years ago) which then and still was in 1981 concerned with assisting growth while retaining "authenticity" and cultural continuity. This organization is also concerned with revenue rising for important municipal projects. Culturally continuity vs. cultural heritage differs by its' reference to a period of time. Heritage is the legacy or tradition that can descend to an heir. It must come from a predecessor and be conveyed as a result of Saudi's natural situation. For many Saudis the culture which it posses is one which is currently practiced in their family and to which they have real access.
(4.0)"The Real Estate Development Fund (REDF) says Yousef M.O. Faden "however, is clearly influential in stimulating extravagance in the design of villas. In the light of present development, several trends have reoccurred widely. There are REDF recipients who choose not to spend a lot of money on the particular design (metaphor) for their villas. They find architects, architectural officials (local and foreign) draftsmen, and even engineers who will sell them a copy of a ready made design (metaphor) for the villa that suits their lot size. Another group of REDF recipients want something (metaphor) special for their modern villas, and are willing to pay for the design cost. Given the naiveté of most people in this group, the architects find unlimited opportunities to produce their masterpieces (metaphors?). Unfortunately, most of these designs (metaphors) do not conform to the homeowners' needs, social habits and values, and a study of these designs (metaphors) show that they do not often conform to the surrounding environment." (4.0)"One trend which is likely to be a cause for concern is the monotony and lack of imagination of the lines of villas having one (metaphorical design) and outlook. (4.0) Faden, Y.M.O., "The development of contemporary housing in Saudi Arabia"
In addition to their repetitive design (metaphor) these villas are mostly jerry built and long life spans are not expected"
"Counterfeit metaphors placed into contexts composed of irrelevant metaphors" aptly describes the way contemporary Saudi families now consume their environment. It is no longer derived from their experience but instead bought as has been learned from the way we buy and use automobiles. If anything, consumption of housing is drawing analogies from consumption of automobiles. These villas are the twenty first century's high tech/western "living machines." They symbolize one of the outcome's points nine of King Faisal's ten point programs: "that all individuals in this Kingdom will enjoy a high standard of living." Kingdom wide "high" has come to be synonymous with "dar" (house) which is then adapted to become a "beyt" home. "A new process is underway whereby the revivications and interventions" (6.0) J. Akbar describes: "is applied to building villas". The cultural adaptation of the U.S. plan book readily available in every "seven eleven" (7 11) grocery store (in the U.S.A.) is a trend to "build villas" in Saudi Arabia. The metaphor itself is the goal. To have the product and identify with the scenario it accompanies. It's like getting an owner's manual with your new car. This manual also teaches you how to use your rooms, what's in them, and their accompanying values. It is instant gratification and optimally 1vicarious. It's as close to buying a title (as is done in England) as you can get. It’s not a pattern exclusive to Saudi Arabia; but, itself a western "mores" expressing a folkway of central importance embodying a fundamental moral view. It's something which suddenly everyone must have and the minimum standard above which "everyone" is judged. It is what makes "fashion", "style" and "novelty" sell.
(4.0) Faden, Y.M.O., "The development of contemporary housing in Saudi Arabia"
(6.0) Akbar, J., "Crisis in the built environment".
The Context of Arabia "In" "Metaphor
It also is the act of emulating acts of those deemed elsewhere to epitomize everything individuals and their society want to be. The process and its' products are the epitome of the whole Saudi Arabia society. It has the ideal features of a whole class. It is the metaphor of "affluence." The epitome of wealth and prosperity. It exudes abundance and plenty. Each are, and, they collectively provide the Saudi Arab society with all the trappings of equivalence of a society they wish to at least equal. It is the metaphor of importance and power. It is a kind of "trophy". It translates birthright entitlements into a visible metaphor. Singularly and collectively it is the pride of the Kingdom. It shows itself and reflects Saudi Arabia's very special wealth.
This metaphor is more than just a natural response to need. It is though it was one's duty as a subject to receive these housing grants and build a metaphor. As does the metaphor, a person likens himself to something to which he is not literally applicable in order to suggest other context; and, that, indeed, he or she as the other, may not have earned this villa. He or she becomes therefore like the corporate employee who is paid all his working life much more than he or she is worth (for the job he or she is doing) so to provide the company with a cadre of reliable, dependable and very loyal corporate "family" members. It also provides the company with the human resources to support and carry out the company's mission. Metaphors form the body of the corporate mind and vitalize the company's peculiar mission (aside from "profit"). It is in this context that Saudi finds its' metaphoric parameters. A resemblance one may think: "by owning such a "villa" I am like those that are affluent that also have such villas. Of course each person knows he or she is not the person in the Metaphors at every level provide everyone with a common denominator.
1. Vicis change: it is substitutionary experienced through imaginative or sympathetic participation in the experience of another. The metaphor is not originated from direct experience with the context resulting in a like metaphor which when perceived recounts those vicarious indirect thoughts and ideas.
It is the one element that goes into everyone and gives value to each. When we perceive one, or many, of these "villas" we know what story is being told. We also know that there may be other versions of that story we cannot see. We share the aspiration, if not the destiny, of the owner. The metaphor of the “villa” belongs at once, both to the owner and all of us at the same time. It is all of us, bettering ourselves, adapting to the form, performing the rituals described in the manual, hoping that the vicarious metaphor will become the truth; if not for ourselves then, for our children. It is reliance upon the "material" to do what we think we as "persons" cannot accomplish. These metaphors are encapsulated hopes and dreams.
These metaphors (villas) are not unlike the Italians (or Egyptians) custom of building mausoleums in cemeteries depicting, in miniature, what the departed hoped he'd achieved (but didn't) while alive. Building metaphors are important parts of people’s lives. It may not always be overtly expressed, but it is the architect's responsibility to be sensitive to this phenomena. In this aspect he exhumes what others wouldn't. When we speak of inadequate below standard housing we are not just referencing minimal shelter needs and necessities, but instead the standards and manner to which we have been conditioned to be accustomed. These represent our expectations and encapsulate an unexpressed vision to which we've been conditioned. The architect must try to bring out of his client that personal information, which when combined with the knowledge and understanding he has of the cultural, regional and national visions, will be included to form his expression of their metaphor.
The Context of Arabia "In" "Metaphor
Their mutual metaphor. And, of course, his expression includes his own personal expectations, professional standards and the knowledge of his profession. It is his various, specific and combined experiences with each and all of these elements which profoundly result in a metaphor. A metaphor which can be perceived and experienced by both composer and client.
The inevitability of metaphors upon being and "man's" urge is fulfilled in Heidegger's *"Dasein" who is:
1. in the world
2. The essence and
3. Being in
The following section applies "Dasein" to the concepts of "in ness" and "touch".
*Da-sein: being there.
The Context of Arabia "In" "Metaphor
Being in the world:
(6.0 pg 114)Heidegger says Jarava Mehta "takes as the most suitable starting point for the analysis of Dasein, the explication of the fundamental constitution of this essence as being "in" the world.
As the hyphenated expression suggests, this should be viewed as a unity of which the elements are indissolubly linked together, so that if we consider any one of them the others are necessarily implied. The three elements which comprise this single phenomenon are 'in the world', the essence which has this mode of being and 'being in' as such. Heidegger discusses these constituents of the basic structure of Dasein the ontological structure of 'world' and the nature of mundaneness, the 'who' of this essence in his or her average everyday character and the ontological constitution of "in" ness' itself". The following is Heidegger's analysis of the concept of being-"in or in-ness".
(6.0 pg 114)"What do we mean when we say that something "is "in"...."? Obviously, the 'in' here characterizes the mode of being of an essence which can be another 'in' the way water is in a glass or clothes are in a wardrobe and so forth. These are all things which have the mode of being vorhanden, of things which present themselves as objects within the world. The 'in' characteristic of them is one of the ontological features called categorical above, features which belong to assents other than those of the nature of "Dasein". Being in or "in" ness, on the contrary, must be understood as an existential, constitutive of "Dasein", and not as referring to a type of relation subsisting between two vorhanden objects. Heidegger even adduces etymological evidence to show that the existential sense of 'in', as compared to the categorical, is the more original one. 'In' originally does not connote a spatial relation between two simply given things at all but derives from 'innan', dwelling, habitare.
The Context of Arabia "In" "Metaphor
Being, as the infinitive of 'I am' understood existentially means "dwelling with" and "being familiar with". "Being in" is thus "the formal existential expression for the "being" of "Dasein" which has being "in" the world as its' essential constitution." (7.0 pg. 115)"Existentially considered, the intimate way in which "Dasein" lives with the world, by it, never means anything like the being together of two vorhanden things. Dasein and World are not two things juxtaposed together, in the way we speak of a table standing by the door or a chair touching the wall. In a case like the latter, one cannot speak of a 'touching' at all, not because on closer inspection we can always find empty space between the two. Such touching would be possible only if the wall were something 'for' the chair, which it could encounter in the world. Heidegger says (7.0 pg 115)"An essence (man) can touch another presenting itself within the world only if by its very nature it has in-ness as its own mode of being - if by its' very being there (Da-sein) it has such a thing as world disclosed to him or her, out of which assents can manifest themselves to him or her through touch and thus become accessible in their objective presence." Two entities, says Mehta each vorhanden in the world but neither 'having' a world, can neither 'touch' nor be 'by the side of each other."
(7.0) Mehta, J.L., "Martin Heidegger, the Way and the vision"
References:
1.0. Ismail Serageldin, and Samir El-Sadek, "The Arab City" (its character and Islamic cultural heritage). Proceedings of a symposium/Medina, Kingdom of Saudi Arabia. 24-29 Rabi II, 1401H/28 Feb - 5 March, 1981 A.D. Orchard Building, Singapore 0923/New York, N.Y. 10019.
1.1. Y. Belkacem, "Bioclimatic patterns and human aspects of urban form of the Islamic City".
1.2. Said Zulficar, "Alienation, architectural relevance and cultural survival in the Islamic city"
1.3. Stefano Bianco, "Traditional Muslim cities and western planning ideology": an outline of social conflicts.
1.4. Abdullah Yahia Bokhari, "Approaches and definitions".
2.0. Salah Ali Al-Hathloul, "Tradition and Change in the Physical Environment" Boston 1981 (unpublished)
3.0. Walter Benjamin, "The work of art in the age of Mechanical Reproduction"
4.0 Yousef M.O. Faden, "The Development of Contemporary Housing in Saudi Arabia" (1950-1983).
(A Study in Cross-Cultural Influence Under Conditions of Rapid change). PhD thesis (unpublished) in Architecture, Art and Environment Studies, M.I.T. June 1983. (As certified and accepted by Stanford Anderson, Professor of History and Architecture, thesis supervisor and Chairman Department Committee on graduate studies).
The Context of Arabia "In" "Metaphor
5.0 Paul Weiss, "The Metaphoric Process:" "Main Currents in Modern Thought" Journal of the Center for Integrative Education, 12 Church St. New Rochelle, New York 10805 September-October 1971, Vol. 28, No.1
Editor: Emily B. Sellon/Patrick Milbum.
6.0. Jamel Akbar, "Crisis in the Built Environment": (The Case of the Muslim City) E.J. Brill (U.S.A.) Inc 1780 Broadway/Suite 1004. Published by Concept Media Pte. Ltd 1 Grange Road #5-11/12
7.0 Jarva Lal Mehta, "Martin Heidegger: The way and the vision" The University Press of Hawaii Honolulu 1976.
Author's note:
1. All word definitions from "Webster's Ninth New Collegiate Dictionary" 1991 published by William A. Llewellyn.
2. Reader is advised to refer: Jarva Lal Mehta's 1976, "Martin Heidegger, the way and the vision" published by the University Press of Hawaii, Honolulu.
3. "Religion", "religious", and "believers" have been respectfully substituted in the author's text for "Islam", "Islamic" and "Muslim" to avoid potential mis-perceptions of use, casting, context, reading or understanding. Whereas all the same word usages by referenced authors have been retained in their authoritive, already accepted, apparently agreed and widely published uses and applications. In most instances these substitutions have greatly enhanced and generalized the wider and more accurate application of the concepts, ideas and specific descriptions.
The Context of Arabia "In" "Metaphor,n the Built Environment, habitat, Heidegger, herma, Kingdom, madrassa, metaphoric, metaphors, Saleh Ali Al Hathloul,
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