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MORPHOLOGY OF MONASTERIES IN GREECE

The Monastery and the Environment (an organic dominance)

    Dr. Claudio Conenna
    Doctor in Architecture
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    The geography of Greece is characterized by varied forms of terrain, thanks to which holy monuments occupied the most attractive locations in antiquity and in the Byzantine Age(1). The sensitivity of the Greeks regarding the choice of the proper site to evoke a mood of spiritual uplift and mysticism is well known (2).) "…Topographically, Greece is formed by a determined variety of types. Each landscape is distinctly delineated. The intense sunlight and clean air contribute to the unusual presence of shapes…"(3)

    In ancient Greece, before the construction of a temple, people set up outdoor altars at an ideal site from which the entire sacred precinct would be visible (4). In the Byzantine era, monasteries were built on the site where the founder of the monastery lived, or near the cave where he lived in monastic isolation

    For Byzantine architecture, the view was a very important issue (5). However, for cenobitic monastic architecture, the most basic issue was spiritual selection of the site for monastic life (6). Monasteries, of course, were closed to the outside and introspective, that is, they "looked" inwards, though the view did not cease to hold an important position. Their architectural expression as volumetric composition results from an interrelation with the terrain's morphology and results in an organic-plastic system, according to which the introspective nature of the monastery does not invade nature volumetrically or morphologically. The creative and harmonious combination (7), with which monasteries are integrated in the environment, is the result of the sensitivity and respect for nature of the architects and founders.

    The more ascetic a cenobitic monastery is, the higher are the mountains where it is established, and greater is its isolation. This course of monastic spirituality is a search for illumination of the heart, Divine Grace, knowledge of God, and the transformation of beings and objects (8), that is the union of heaven and earth.

    "… The marriage between heaven and earth forms the point of departure for the further differentiation of things. The mountain, thus, belongs to the earth, but it rises towards the sky. It is high, it is close to heaven, it is a meeting place where the two basic elements come together…" (9)

    In general, the setting of monasteries during Byzantine and post-Byzantine times is mountainous, for two reasons:

    a) Because Greece is in large part mountainous, and
    b) Because monasticism requires isolation in order to ensure tranquillity, as well as for reasons of protection, asceticism, and distance from worldly things.

In Greece, the three "columns" of monastic form which are related to nature and define the mode of monastic asceticism are the following:

Of course there are also other monastic complexes spread all over Greece which acquire or develop one of these forms of monastery, according to the monastic (cenobitic) leanings of the group of monks which identifies itself, following spiritual exercise, with the characteristics of the natural environment (10). In general, most of the monasteries of Greece keep this regular monastic (cenobitic) form. The type of Meteora, however, is an exception within Greece and in the world of monastic architecture, since its topography is unique, in the shape of a giant "stone forest", where cenobitic monasteries leaning toward asceticism are set at the top of the rocks, in "stylite" fashion.

The Christian monastic form, we could say, is the result of the interaction between two forces, the material and the spiritual. Each monastery, both in the East and the West, has its own character and physiognomy, which, in its architectural form, consequently manifests the character and physiognomy of the group of monks who built it. The factors that essentially determine the morphological characteristics of the monastery are the following: first, the nature of the site where the monastery is set; secondly, the relation the site has with the landscape, of which the monastery forms a part, and thirdly, the topographic characteristics and climatic conditions. On the other hand, the morphological physiognomy of the monastery complexes is characterized by the creative architectural expression of the spirit of the founders and monastic or lay "architects."

We can separate the morphological architectural expression of Christian monasteries, along general lines, into two types, the geometric and the organic. Western monasteries belong to the formal, and Eastern monasteries to the latter. Historically, the two concepts (11) evolved in the following way: by "geometric" we mean the Roman order, which takes into account need and function and above all depends on a general dominant form concept which it follows in any setting. In contrast, the Greek order is considered more optical and "organic": with its own rule for each case, it is more natural and autonomous in character. The geometric form ignores the characteristics of the site, and by extension it comes into conflict with the landscape, while the organic is a part of the site and harmonizes itself with the landscape. The geometric form, with its superimposing character made up of strict lines, is implemented in competition with nature, which does not recognize straight lines. The geometric form imposes itself on nature, in contrast to the organic, which adjust itself to topographic variety, by recognizing and using the particularities of the soil. The organic form also recognizes the interrelation which exists between man and the environment, of which the former, ecologically speaking, constitutes a part. With this conservative spirit that dominates everywhere, the organic designer knows that nature has a beauty of its own, where careful intervention must achieve pictorial values; thus the building, in harmony with nature, uplifts its value. In this particular case we could support the following statement: whatever is a disadvantage for the inflexibility of the geometric shape is an advantage for the flexible organic form, which becomes capable, with its irregular plasticity, of surpassing any setting.

Monastic architecture in Greece during the Byzantine and post-Byzantine era promotes a close and well-adjusted relationship with the multifarious natural environment of its setting. In this sense, we can consider it "organic". The "organic" architectural integration of the monasteries with nature is the expression of the continuity, in another language, of the ancient Greek organic architectural tradition, as well as the respect and humility based on Orthodox Christian faith, according to which the monk is considered responsible for an intervention within nature.

"… as priest and leader of mass, dominator and manager of nature, he does not forget that he has the duty to present it and exalt it before the Creator…" (12)

The organic integration of this monastic architecture in nature symbolically reflects the integration with which the spiritual human "sinks" into God, in order to form a total unity with Him and to be in harmony with Him (13). In other words, we may say that the organic integration that Greek monasteries show in their specific setting is not simply external, but originates from the interior of the building, from the reason why it was built, namely in order to "cover" the cenobitic monastic style of life. This natural integration reflects the life of every monk, who "builds" his internal integration in order to belong to the nature of his own existence, his brotherhood, and his Creator. In this way, monastic life takes monastic form in a natural way.

The organic monastery form in Greece is called "natural" since it consists of an architecture of nature for nature, which is inspired by the natural landscape to which it adjusts, following the form of the ground, and is exalted architecturally in the form of a monastery in order to be harmonized with it. The quality of integration depends on the use of the construction materials used in building the monasteries. The natural characteristics of each (stone, brick, wood) are kept in their entirety, in order to give the buildings their true, "organic" architectural expression.

At this point it deserves noting that the means of translation of monastic life into monastic architecture finds exemplary expression in specific monastery buildings. A similar architectural expression is found in the thoughts and the philosophical approach of the well-known modern American architect Frank Lloyd Wright (1869-1959). His principles concerning architectural philosophy, organic architecture (14), integration of the building in its natural environment (15) and the proper use of the nature of materials (16) were translated architecturally in a very authentic way, and at an earlier time, in the anonymous monasteries which we are studying here. The purpose of this comparison between the Orthodox monastic architecture of Greece and the philosophy of architecture of Frank Lloyd Wright is not based solely on the coincidence which exists between them, but mainly on the importance of the architectural treatment of the philosophy or rather the theory of the globally recognized architect in Greek monastic architecture of the Byzantine and post-Byzantine eras. This architecture gives specific form to what Wright "discovered" or "developed" many centuries later, as a new way of thinking for architectural design. It is our view that Wright himself did not know these monastic examples which concern us, but his recognized theory and works prove the qualitative particularities of this architecture. Thus, we could also say that the use of reinforced concrete in his work did not allow him to "express" his rich and interesting theory, which in the end formed a rational organic syntax of architecture within the natural environment, authentically and genuinely. Rational, in the concept of the geometrical rhythmic refinement of architectural space in his works. Organic architecture, as Wright defines it, surpasses the natural level of construction in order to express the meaning of spiritual creation (17). As the monastery complex is integrated organically within the natural environment where it is set, it gives the impression that some spirit (the Holy Spirit) guided and helped man with both the selection of the location for its setting and the idea of constructing the monasteries, which form, in the final analysis, wonderful architectural work, such as the following monasteries:

 1                               2                           3                         4                         5                          

We could say that this architecture, represented by the above buildings, surpasses the natural level (construction, material, and form), expressing a spiritual or supernatural energy that interprets monastic life, the nature of the monk as a person, and the conditions of his life. In order to understand better the concept of supernatural energy within man, it is useful to see what St. Gregory Palamas writes on this subject:

"Among the gifts of God, some are natural: they are offered to all without distinction, before the Law, under the Law, and after the Law. Other gifts are supernatural, spiritual, and completely unapproachable. I consider the latter gifts superior to the former, just as those who were judged worthy of the wisdom of the Holy Spirit are superior to the entire body of Greek philosophers. Further, I say that one of the natural gifts of God is philosophy, as are the discoveries of human logic, the sciences…" (18)

Images:

1 Monastery of Hosoviotissa - Amorgos.
2 Monastery of Rousanov - Meteora.
3 Neamoni - Meteora.
4 Ag. Nikol. Anapausa - Meteora.
5 Monastery of Simonos Petra, Mount Athos.

Notes:

(1) N. Moutsopoulos, Gortynia, p. 232.
(2) P. Mylonas, Architecture, p. 194.
(3) V. Scully, Earth, p. 9. V.
(4) Scully, op. Cit., p. 45.
(5) G. Velenis, Framework, p. 34.
(6) D. Papachrysanthou, Athonite Monasticism, p. 66.
(7) S. Zafiropoulos, Three Dances, pp. 213-214, "The harmony of what is constructed with the natural environment… the natural environment and the constructed environment in their disciplined meeting, in their good-natured communication…" and M. Le Caisne - J. Bouillot, Sitio y entorno, pp. 298-303.
(8) N. Matsoukas, Byzantine Philosophy, pp. 277-292, and V. Tatakis, Byzantine Philosophy, pp. 146-147.
(9) Ch. Norberg Schulz, Genius Loci, pp. 24, 25.
(10) Thus, there are monasteries with the same form as Gortynia of the Peloponnese, such as the Hozoviotissa monastery in Amorgos, the Zoodohos Piyi Kipina monastery in Epirus, the moanstery of Mega Spilaio at Kalavryta, and Eloni monastery at Leonidio. We also find groups with the same form as monasteries of Mount Athos in the community of Mystras, as well as the monastery of Saint John the Baptist in Serres, the monastery of Saint Vissarion in Trikala, and the monasteries of Osios Loukas and Osios Meletios in Central Greece, etc.
(11) L. Hilberseimer, Cities, p. 133.
(12) T. Papagiannis - Father Eliseos, Natural Space, p. 20. See also A. Loos, Ornamento, p. 232: " … human work must not compete with the work of God …" and I. Zizioulas, Construction, pp. 44-46.
(13) A. M. Allchin, Man as Image, pp. 36-48.
(14) Frank Lloyd Wright, Organic Architecture, p. 47, and E. Kaufmann - B. Raeburn, Frank Lloyd Wright, pp. 233 and 304-5.
(15) Frank Lloyd Wright, Natural House, pp. 121-123. and E. Kaufmann - B. Raeburn, Frank Lloyd Wright, pp. 272, 292-296. Robert McCarter, Fallingwater.
(16) F.L. Wright, op. cit., pp. 52-53.
(17) E. Kaufmann - B. Raeburn, op. cit., pp. 222-229, 321-2. E. Kaufmann - B. Raeburn, op cit., pp. 277-281, "…architecture is life; or at least it is life itself taking form and therefore it is the truest record of life … architecture I know to be a Great Spirit. It can never be something which consists of the buildings which have been built by man on earth… Architecture is that great living creative spirit which from generation to generation, from age to age, proceeds, persists, creates, according to the nature of man, and his circumstances… architecture is a necessary interpretation of such human life as we now know…"
(18) J. Meyendorff, St. Gregory Palamas, p. 134

    Dr. Claudio Conenna